Apocalypse vol 02

^arry Lorayne's THREE DOLLARS

VOL.2 N0.1

JANUARY, 1979

^{gocalypse - Stoi *2fernon -

-verse (Bolor 6Range This is more of a utility move than just a color change. But, Dai originally showed it to me as a bottom card change, and that's how I'll explain it.

In my Afterthoughts, I will mention the utility aspect of the basic sleight, and also a couple of quick effects I've come up with, using the sleight.

For the bottom card color change, hold a shuffled deck in dealing position in your left hand. As your other hand approaches the deck, your left forefinger buckles the deck's bottom card. Your left second, third, and fourth fingers open as the card is buckled. Those fingers open for two reasons; it allows the bottom card to separate more than usual at the deck's inner right area and at the same time makes room for your right fingers to grasp the deck.

Your right first and second fingertips grasp the deck at the inner right area - at the long side - beneath the deck and above the separated card. Your right thumb is on top of the deck. (See Fig. 1) for a rear, exposed, view. Your first and second fingertips simply go into the separation.

What you're about to do is turn the deck face up by turning it to the left, like the page of a book.

Your left forefinger keeps the buckled card in buckled position - that card does not turn over with the deck. BUT - if you simply flipped the deck over to the left, the buckled card would be seen. What actually happens is this: As soon as your right hand begins turning the deck over to the left, your left hand turns toward the right, moving the buckled card along with it. Your left thumb straightens and reaches for the right long side of the deck. (See Fig. 2) for an exposed view. ŠCOPYRIGHT 1979 by H.LORAYNEINC.

Taking the above a bit further, try this: Set, say, the four aces - two on top and two on bottom. The ace second from top is the same color as the one second from bottom. Assume then that a red ace is second from top and the other red ace is second from bottom. The black aces are one on top, the other on bottom.

Do a double turnover showing a red ace; turn down the double. Flip the deck face up, doing the sleight. The other red ace is seen at the face. Flip the deck face down again doing the sleight.

Snap your fingers, or what have you, and you can legitimately show that the top card is now a black ace, and so is the bottom card!

It's actually a combined movement of the hands. In performance, there's no pause.

Your left thumbtip grasps the right side of the deck and your left hand turns back to normal position.

Done correctly, it simply appears as if you've flipped the deck face up. And, done correctly, the buckled card is hidden by the deck. Practice smoothness, and experiment with the angles. Mention the name of the exposed face card, then turn the deck face down again exactly as when you turned it face up - buckling the bottom card, etc.

Pause for a beat, snap your right fingers, and turn the deck face up using the same actions as before but don't do the move this time. The bottom card has changed!

Afterthoughts: That's the basic sleight.

For the color change I've described, the first time you do the sleight the original bottom card ends up face down at the rear of the faceup deck. The second time you do it, that card straightens and ends up back at its original position - at bottom. The sleight keeps the card at position while the deck is turning.

You are, .of course, in position to cause the black aces to change back to red. Do your magical gesture - then double turnover to show a red ace and flip the deck face up - doing the move - to show the other red ace. Do the move as you flip the deck face down again and you can show another change! You can go on that way ad infinitum.

I prefer to do the change of the two aces once. At the most, make them change back again. An interesting way to do the same thing, but to make it a more startling change, is this: When you do the double turnover showing, say, a red ace - don't turn the double down; leave it face up. Now flip the deck face up, doing the sleight and showing the other red ace at the face. Turn the deck face down, doing the move. The red ace is still face up on top.

NOW turn down the double. Snap your fingers and turn the top card face up with your right hand AS your left hand turns the deck face up. (See Fig. 3.) It's an instant double change. The difference is that the top(?) red ace is seen until the very last moment. Try it. You can, of course, change two indifferent cards to two selected cards using either of these methods.

The utility aspect of the sleight should be obvious to you now. It can be used to straighten a reversed card after an effect that leaves a card secretly reversed. Get it to the bottom and do the sleight once, as you turn the deck face up. The card is now facing the same way as the rest of the deck.

Use it to reverse a selected card. The simplest way is to control the selection to the bottom, then do the move as you flip the deck face up to show the bottom card. Cut the faceup deck and the selected card is reversed at center.

I prefer to do it this way: Control the selection to the top. Do a double lift showing that the selection is not on top. Turn down the lift. Flip over the deck, without doing the move, to show that it's not on bottom.

Flip the deck face down doing the move - and immediately flip over the top card again. Your spectators see the same card they saw before.

The covering patter is, "Your card is not on bottom and it's not (flip over the top card again) on top." Flip the top card face down.

The selected card is face up on bottom. Just cut the deck - and go from there.

Finally, you can use the move for a magical face-up appearance of a selected card.

Control the card to SECOND from bottom. Get a left little finger break above the two bottom cards. You can do the move by grasping the deck above the two broken cards. No buckle is necessary, since you already have the break.

Do the move as you turn the deck face up.

Then, turn the deck face down doing the regular (buckling the bottom card) move. The selected card appears face up on top. Spread the cards to show that it's the only face-up card.

I've worked out a pretty crazy four-ace revelation using this handling. See what you can come up with.

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Jon

Zippjr Zig-zag

This is certainly an interesting "Zig-Zag" concept. It's different and quite bold, but it "plays." I know because I've performed it for laymen. Here it is in, basically, Jon's words.

This is a variation of George Kaplan's Zig-Zag and was inspired by Herb Zarrow's version in Apocalypse (Vol. 1, No. 5; May, 1978).

It makes some critical changes in the procedure that don't necessarily enhance the basic effect; however, the nature of the procedure and its specific design will befuddle astute laymen and magicians alike. Orthodox sleights like the Pass are eliminated and a certain directness is gained. Its indebtedness to Edward Mario's "The Chicago Miracle-Second Method" (Hierophant 5-6) and the application of his "Switchless Switch" (Ireland Card Annual-1956) will be self-evident. The EXACT application of these items to this effect is strictly my own doing or undoing, as the case may be.

5) Spring (waterfall) the cards together, but retain a left little fingertip break BELOW the noted 2C. (See Fig. 2.) Explain that you are going to remove 10 cards from the deck.

Here you begin spreading the cards, running them singly to count them. Maintain your break during this count. When you have spread and counted all the cards ABOVE your break, remember THAT number and continue counting until you have spread-counted ten cards. This "number," of course, will EQUAL the number of cards removed by the spectator in Step 2. At this point you're way ahead of the game. You have a known card at a known number in a previously shuffled deck.

1) This is strictly impromptu. Take the shuffled (borrowed, if possible) deck and do a 26-card Faro Check and note the 26th card from the top. Assume this 26th card is the AH. Square and table the deck.

2) Ask the spectator to think of any number between 1 and 10. Turn your back and ask him to REMOVE that many cards from the top of the deck. If he thought of "6" he should remove six cards. Tell him to place these cards in his pocket or lap. These will represent "verification" cards later during the effect.

3) Turn around and pick up the deck, holding it on its side as if splitting for a Faro shuffle. Run your right thumb upward along the uppermost side to riffle the cards. Begin this riffle-glimpsing action about midway. When you spot the previously-glimpsed AH, cut at that point. Your right hand takes the upper portion (including the AH) and Faro shuffles it into the larger, lower, portion. This must be an OUT faro. (HL: The shuffle starts below the top; the bottom card of the right-hand portion original 26th card - must end up 2nd from bottom . ) k) Once the cards are meshed and in an elongated condition (Incomplete Faro), your right thumb pushes inward (or downward) slightly on its portion. This causes a slight separation on the top side at the juncture of the weave and exposes the index of the card just above the weaved section. Remember this card.

Assume it's the 2C. (See Fig. 1.)

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6) Your right hand comes over to square the top ten cards, then holds them from above and by the ends in preparation for Mario's "Switchless Switch." As these ten cards are further squared and held above the deck, your right thumbtip lifts an extra card (11th) and adds it underneath the ten; however, your right thumbtip also maintains a separation between this extra card and the primary packet.

7) Explain that you're going to show him these ten cards one at a time, and that he's to mentally note the card that occupies his number.

If his number is 2, he's to note the 2nd card shown, etc. Here's where the swindle occurs.

The first card shown is actually the 11th card of the entire packet held in your right hand.

This is BOLD, but works like a charm if properly executed. The grip on the cards is critical. As you face the spectator head-on, the cards are lifted upward so the FULL face of the lowermost card is "flashed." The actual thickness of the cards cannot be discerned because of the overhand grip. On the count of "one" he will assume that he's noting a single card you're actually holding 11 cards as 1. While this card is being noted, your left thumb pushes over the next card into a side-jogged position. Your right hand is lowered and the next card is taken underneath. Your right-thumb break, of course, is maintained. Raise the cards to "flash" the assumed 2nd card, as you say, "two." (See Fig. 3) which shows the assumed 2nd card about to be taken.

for your own card you actually note the spectator's "mental" selection by counting the proper number from the top. Assuming that the number you remembered at Step 5 is "six," which also indicates that he originally removed six cards, you merely note and remember the card that's 6th from the top. Assume the card he thought of is the QH. Square your ten-card packet and place it face down in front of you.

11) Recap what's happened so far, pointing up the fairness of the whole procedure, then add: "So you won't accuse me of anything dishonest, I'm going to tell you the name of my card. I chose the two of clubs!" Here you name the known card ALREADY in the spectator's packet.

12) Ask the spectator to remove the cards from his pocket and to openly count them onto the table. After he's counted these cards (6, in this example), say, "I'll deal to the sixth card in my packet and I want you to do the same in your packet; however, I'll deal with my packet first..."

8) This picking-up and "flashing" procedure is continued for NINE cards. The interesting point, psychologically speaking, is that the spectator is lulled during his mental choosing. He's concentrating on the faces of each card being shown and wants to note the proper card. Besides, most people (including magicians) assume that trickery occurs BEFORE or AFTER a card is selected, not DURING. When the 9th card is "flashed" you're actually holding 19 cards in your right hand, with a break ABOVE the lowermost nine cards.

9) Your left thumb has pushed over the 10th and final card. As your right hand comes down to pick up this last card, what actually happens is that ONLY the 10 cards above your thumb break are lifted away from the deck. The actual 10th card, PLUS the other 9 cards below your thumb break, are LEFT on top of the deck.

Your right hand now holds 10 cards - the proper number - and NONE of them are the ones just "flashed." These "ringer" cards in your right hand are IMMEDIATELY dropped in front of the spectator, as you add, "You merely THOUGHT of one of these ten cards!"

If a knowing spectator is awaiting a move or switch at this point, it's too late. You have cleanly placed a 10-card packet in front of him and it's now in safe ISOLATION from the rest of the deck. Although cards are switched, no PHYSICAL switch on a one-to-one basis or packet-to-packet basis has taken place. Only HALF a switch, or a secret DROP-OFF, has taken place. That's why Mario calls it "The Switchless Switch."

A couple of points: (1) During the flashing procedure of Steps ? to 9> maintain a steady, quick pace. Not TOO fast. The spectator must have enough time to see his card.

Just don't dally. (2) Because of the glimpse at Step k, you now know the name of the card at the same position as the spectator's position and it's ALREADY SET in the 10-card packet in front of the spectator.

10) Explain that you will also remove ten cards. Here you thumb over the top ten cards of the deck without reversing their order. Remove these cards and place the deck aside. .These cards are the ones you showed the spectator. Say, "I'm going to note a card at a given number..." Here you fan the cards with the faces toward yourself. Instead of looking

13) Deliberately deal to the 6th card in your packet and place the 6th card aside. Now tell him to deal to the 6th card in his packet and to hold the 6th card in his HAND. Say, "Wouldn't it be miraculous if both our cards were in a matching POSITION?" Wait for his reply, then add, "Without needing to turn our cards face up, I can tell you without any doubt that, indeed, both our cards ARE in matching positions. This, however, isn't miraculous.

It could be simply an engaging coincidence.

The real miracle is this - my card has jumped into your hand and your card is here!"

Have him name his mentally selected card, then turn it over to disclose. Repeat the name of your supposed selection (2C) and have him reveal the card HE'S holding.

Note 1: Although you know the spectator's number and selection way ahead of time, don't succumb to the temptation of using this knowledge to add further dimensions to the effect.

In the long run it would serve to aid magicians in reconstruction.

Note 2: However, for laymen, I sometimes do the following: Since I know the number after showing the first 10-card packet, I jog shuffle the deck then remove a matching VALUE card of the number. This card is placed face down to the table. I thumb off the top 10 cards of the deck (original 10 cards shown) and pretend to note a card and number, as in the basic effect. This packet is tabled in front of myself. Now I ask him to fan his packet faces toward me. I name his card. This also strengthens the assumption that his card is STILL in that packet. Now I finish the routine as originally described. For advanced magicians, I keep to the original routine.

Afterthoughts: In Jon's "Note 2," although it isn't mentioned, I'm assuming that the "value" card you put aside is an extra "kicker" to use before ending. It proves to the spectator that you knew the number he was thinking of.

This is a fine routine. I'm intrigued particularly by the method that enables you to know a thought-of number - and, to know a thought-of card (at that number) BEFORE it's thought of! (HL)

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Joljn CorqeliuS

"The Gliding

Every once in a while, one effect someone does at a convention becomes the talk of that convention. So it was with this quick effect.

John was seated at a table; he reached into his case and took out two lengths of rope. He tied their ends together, then SLID THE KNOT down to an end! Then he slid it back to center, untied it, leaving him with the original two pieces.

That's the effect - and he "floored" an entire group of magicians with it.

Rope effects, those with knots, are not easy to describe in print. I'll do my best although it's really a simple concept. Work along with me; once you're familiar with it, you'll work out the handlings that are best for you.

You need three pieces of rope; a, b, and c, in (Fig. 1 ) . The lengths indicated are not crucial. As a matter of fact, the pieces I use are 6, 14, and 18 inches long respectively.

Also note that there's a knot at one end of the medium piece (b); this is never seen, and is there only as an aid in holding that piece in place during performance. All illustrations will be performer's view.

Continue the natural action, bringing the end of the short piece (which is now to your left) around the long piece's end - by continuing to push down with your left forefinger until your left thumb can move under that end and bring it toward you and up. (Figs. i|—3• )

To perform: Hold the longest piece (a) in your left hand; b and c are in your right hand, and appear to be one piece from the front. The knot of b is at the base of your 3rd and 4th fingers. (Figs. 1-2.)

During performance, the backs of your hands are toward the viewers.

Here comes the switch of ends - it's beautiful and imperceptible. First of all, your right second finger moves to cover the end of the long piece; your right thumb and forefingertips still hold that end, and your left thumb and forefingertips hold the center of the short piece firmly against the long piece's end. All is exactly as in {k & 5 ) .

From here - and of course it's all one fluid action during performance - simply move, slide, the short piece to your left with your left hand.

The entire illusion is based on the simple switch of two ends - an end of the short piece for an end of the long piece. That switch is accomplished AS you apparently tie the two ends together.

Toss the upper end of the right-hand piece (short piece) over the upper end of the lefthand, long, piece. (See Fig. 2.) With your right thumb and forefinger, grasp the end of the long piece AS your left forefinger pushes the end of the short piece downward. This is the normal way to start tying one simple knot.

(See Fig. 3.)

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The right end of the short piece automatically moves out of your right hand, as your right thumb and forefinger (and 2nd finger) retain their grasp on the long piece's end.

(6 & 7-) The first part of this - the moving of your right second finger to cover the long piece's end - in action, can be done as soon as your right thumb and forefinger grasp it, at the start.

Say, "Of course, if you don't like the knot here, I can slide it to here!" Visibly slide the knot to your left and downward, to near the other end of the long piece! (See Fig. 10.) This is STUNNING to laymen! Pause to display. "But perhaps you'd rather it was back up here." Reach down with your right hand and slide the knot back up to center with your thumb and forefinger. (See Figs. 11 and 12.)

The situation now, as in figure 7, is that the short piece is wrapped around the end of the long piece. Your left fingers "shade" this condition. You can pause here for a beat so that your audience sees the two ends(?) crossing each other. Finish tying the knot (Fig. 8) actually the small piece is knotted around the long piece's end - then pause again to display.

(See Fig. 9-)

At this point, the knot is untied, and you display TWO lenths of rope as at the start.

This "locks" it all in - makes it a complete circle of magic. Of course, a switch of ends occurs again. I'll teach you John's method and then my own. Both are good; both are easy.

Take your choice. Untie the knot, and stop you're in the same position as in figures 8-7 the short piece looped around the long piece's end. Hold the short piece in place at center with your left thumb and fingers.

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long piece's end from my right hand.

(Fig. 15) shows the turn almost completed. When it is completed, the back of the left thumb would be facing directly toward you. The knot looks exactly as before!

Relax your right thumb and forefinger, releasing the right end of the short piece. It falls to beneath the long piece's end. Move your right thumb and forefinger down, past the long piece, to re-grasp the released (short piece's) end. (See Fig. 13-) Your right fingers hold this end of the short piece firmly as you separate your hands, displaying two lengths of rope - to end. (See Fig. 14.)

The switch is done - and it's instantaneous - BEFORE the knot is untied. I pause, again, for a beat - then untie the knot, display two pieces of rope - and end.

13

Afterthoughts: So, you have two methods for the last switch; one after the knot is untied, and one before it's untied. They're both instantaneous and imperceptible. Try both methods - you'll know which is best for you.

Doug Henning used a similar effect on his television special. It created a "stir" among magicians. His, of course, was a stage version - the idea for that version originated with Paul Curry. John's is a close-up version basically, just about impromptu. Go over, and over, it until all the handling is familiar.

Then, it "flows." It's a classic piece of magic!

What I do is - when I reach to slide the knot back up to center, as in figs. 11 & 12, I grasp the right single end of the knot with my right thumb and forefinger. I do NOT release that end from here on. There's a one-beat pause here. Then, my left thumb and forefinger (thumb below, forefinger above) turn the entire knot one half turn toward me - this is in preparation for the un-tying. AS it turns, I simply retain my right thumb and forefingertip grip on the short piece's end, and RELEASE the

I was having a short (until 4:30AM) magic session with some of the "boys" in Toronto, Canada. At one point, P. Howard Lyons (of Ibidem fame) said, "Cy Endfield has this idea for a terrific effect with a deck of alphabet cards.

"He shuffles the deck and ribbon spreads it face up. He points out that some small words are formed here and there. 'Here's t-ub, tub; here's f-a-t, fat' - and so on. He gathers the cards, shuffles, and puts that deck aside. A card is then selected from a regular deck. He asks for the name of that card, then ribbon spreads the alphabet deck face up.

There in the center of the spread is the name of the selected card - spelled out with the alphabet cards!"

I said, "I love the idea; do you know how it's done?" Howard had no idea.

As I was being driven to my hotel, I heard not a word that people were saying. My mind was on the alphabet card effect. Before I went to bed that morning, I came up with two methods that seemed to be quite obvious.

I wrote to Cy Endfield in England for permission to publish my methods. He said to go ahead; his was a method he was still working on; he'd be curious to read mine, etc.

One of my methods uses a regular alphabet deck; for the other method you'll need a stripped alphabet deck. You won't get the point of the title until you've read my Afterthoughts.

You can obtain an alphabet deck at most any magic shop. If your local shop doesn't have one, he can order it from Haine's House of Cards in Ohio. This is a 56-card deck and, fortunately (for visibility), each card also has its letter in the two proper index corners.

I don't know whether you can buy the deck already stripped; I know that Tannens in New York City can strip it for you.

Okay; the more obvious, and easier, method first - with the "stripper" deck. Take out the letters that spell, say, "three of spades," place them in proper order, turn the packet end for end and place it on top of the deck. Neatly riffle shuffle the deck. Have the 3S in forcing position in the regular deck.

For performance; ribbon spread the alphabet deck face up. Gather the spread. You can do another riffle shuffle here if you make sure to cut for the riffle beneath the final "s" of "spades."

(A bit below center, usually. The vital letters will stay in correct order.)

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If you prefer, you can leave the stack on top without riffling. When performing, do a couple of false shuffles, then let your spectator riffle shuffle once. (You can let him riffle shuffle again if you cut for that riffle. ) In either case, during your last face-up ribbon spread, point out some small words, parts of words, or words spelled backward.

This is to show that the deck is "ordinary," shuffled, and that the letter cards are haphazardly distributed through the deck.

You'll find it easier to indicate the INDICES of the cards; they're more easily visible in a ribbon spread.

With the deck squared and face down, strip out the vital cards in a cutting action. They go on top. Overhand shuffle onto them, so that the stack is near center, and place the deck aside .

Force the 3S from the regular deck - and you're set to end! Simply do a face-up ribbon spread of the alphabet deck and point out the indices that spell "three of spades."

The method I prefer doesn't need a stripper deck, but you have to be able to do a perfect faro. To prepare, place the cards that spell "three of spades" near center. Now, do seven perfect "out" faros. (See Afterthoughts) During performance, you can ribbon spread, etc., as explained. One more perfect "out" faro sets the vital cards properly.

I don't bother with the seven "outs." I do one reverse faro. That is, do a "down-up" jogging of the entire deck. The top card is stepped down, second card up, third card down, etc., without reversing the order. The upjogged half goes ONTO the downjogged half. That's all. During performance, after the face-up ribbon spread, one perfect "in" faro sets the vital cards to center, in proper order.

Afterthoughts: The reason for my title is that I usually set four extra cards - the letters to spell "cent." I set these at bottom - the "t" is the face card. The preparation, the reverse faro, is the same.

After the face-up ribbon spread, the perfect "in" faro, then the force of the 3S from the regular deck - I place the face-down regular deck away from the face-down alphabet deck.

The patter line: "I'll bet you a cent that your card (point to the regular deck) is now in this deck (point to the alphabet deck). Remember; I'm betting a cent."

Ask for the name of the selected card.

Snap your fingers, or what have you, and do a face-up ribbon spread of the alphabet deck.

(See Fig. 1.) Remove the "c.e.n.t" from the right end (face) of the spread. "Here's the 'cent' I'm betting." Place these four cards aside, face up.

"But, I've won the bet - here's your card, the three of spades!" Point out the indices.

Push away the cards to left and right of the vital cards - and widen the spread of "three of spades." Take the "cent" cards, place them back into the spread - "I guess I don't have to give you my 'cent.'"

Remember that you're working with a 56card deck; cut for your faros accordingly. Of course, if you'd rather work with a 52-card deck, simply remove four unused letter cards.

If you're going to prepare with seven "out" faros, I think you'd HAVE to remove four cards.

You don't have to remove them for the reversefaro preparation.

Another way to set up is to have "of spades" on top; the "o" is the top card, and "three" at bottom - the "e" at face. After the reverse faro, a perfect "in" brings them back to position. One complete cut brings them to proper position at center.

If I do it that way, I usually place the "cent" near center. I make sure that my one complete cut is just below those four letters.

That way, the "cent" is near the face of my final ribbon spread, and the "three of spades" is near center. I end as explained.

You can, of course, easily work the "cent" idea into the stripper deck method.

Use whichever method you prefer. Although this may not read "strong," I know how strong a layman reaction it elicits - when properly presented. And please - use a decent force for the 3S. I most often use either the classic force, my own Half Force out of RIM SHOTS, a force using my HaLo Cut that will appear in my new book, QUANTUM LEAPS, and one or two others.

Here are two other endings you may like with the stripper deck; neither uses the "cent" idea. With the vital group at center, ask for the name of the selected card. With deck in hands, do a center strip-out of the "three of spades" packet and directly into a one-hand fan showing that the fan spells out the "three of spades."

Same situation: Place the face-down alphabet deck onto the table and strip out the vital packet in a cutting action. Do a downward, simultaneous, ribbon spread of both portions. Say that the selected card from the other deck has jumped into one of these portions. "Magicians' choice" force the correct one and domino turn it to expose the "three of spades" cards.

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Smfc/icraff

PATRICK PAGE I saw Pat fool, certainly confuse, an entire group of magicians with this. He devised it for use during a Spellbound routine, but it is also a "stand-alone" quickie.

A, say, half dollar is displayed at your left fingertips; a copper coin is concealed in right-hand thumb palm.

(See Fig. 1) for your view.

What follows is an instant down-up motion of your right hand, changing the visible coin.

Then, an immediate repeat. But - I'll break the action into steps for you.

Your right hand moves to above the visible left-hand coin. Same as figure 1, but your right hand is about five or six inches above the left-hand coin. It then moves down, covering the coin for a split second. The instant the left-hand coin is hidden from spectator view, your left thumb relaxes, allowing the silver coin to slide down into your left hand.

Just think of placing the copper coin; the originally displayed coin almost takes care of itself - it HAS to get out of the way. Slightly opening your left thumb to accept the righthand coin automatically releases the displayed coin.

All right; here's the continuing action, leading into the repeat. As your right hand moves upward, to display the change, turn it palm toward audience for a moment. (Fig. 3.)

Again, there's no pause. Your right hand moves downward - as if its work is done - past the back of your left hand. As it moves and turns palm toward you, and as it passes your left hand, the silver coin slides out of your left hand and into your right hand. (Fig. 4.)

Continue moving your right hand downward to your side. This, of course, has to be one continuous, fluid, action. Your right hand catch-, es the coin en route.

At that same instant, the hidden righthand copper coin is deposited to position at your left fingertips, taking the place of the silver coin. (See Fig. 2.) Your right hand immediately moves upward again, displaying the change.

As soon as the silver coin is out of your left hand, turn that hand palm to audience to display the other side of the copper coin - also showing that hand otherwise empty. Again, all part of a continual sequence of movement.

As the left hand displays the copper coin, your right hand gets the silver coin into thumb palm. Now, repeat the entire sequence.

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It should be repeated rapidly several times - then, either end or continue with your Spellbound routine.

Afterthoughts: In Pat's hands, this is extremely magical looking. When I showed it to Sol Stone, he suggested that the steal, in order to repeat, isn't really necessary.

He suggests that you simply change hands doing the move with a different hand each time.

For example, the coin at your left fingertips has just changed. Turn that hand back up as you place the visible coin to your right fingertips. (See Fig. 5.)

Point your right fingertips, and the upward - as your left thumb goes onto the ger-palmed coin to keep it in place. Now the move, changing the coin at your right gertips. The hidden coin is not in thumb but the move is the same. (See Fig. 6.)

coin, findo finpalm,

You can keep doing this sequence as long as you like. It isn't exactly Pat's move, but it's close enough to be mentioned here.

This is based on an idea I read, years ago, in an original Jinx Magazine. It necessitated a force, a key card, and you had to worry about the key being lost in a shuffle. This eliminates the key and, therefore, the worry. I've fooled many with it.

Classic force a card and let the spectator shuffle it into the deck. Do a fast, face-up, ribbon spread on the table. All you have to do is spot the force card - or, rather, its location. You have to know in which packet it will fall if the deck is cut into three packets. Your "cover" is that you're trying to memorize some of the cards quickly. Or - you're simply showing the mixed condition of the cards.

If you're not sure of where the card would fall, cut it (by estimation) to near top. Let your spectator cut into three approximately equal packets. You turn your back and tell him to shuffle each packet separately. Then he's to look through each one for his card. When he finds it, he's to place it into any other packet. He tells you nothing.

You turn back and look through all three packets. Then - tell him which packet originally contained his card (you know this because you knew the location of the card before he cut), and which packet he moved it to (you know this because you see where the card now lies).

You can, as you look through the packets, cut the force card to the top of its packet - then display it at the end; or, palm it out - up to you. Just giving him all that information, plus naming his card seems strong enough.

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men ta lias 11

J. K. HARTMAN The very first issue of Apocalypse (Jan., 1978) contained an effect by J. K. Hartman. It was well received. I thought it fitting to include this J. K. Hartman effect exactly one year later, in this anniversary issue. This, too, involves an adaptation of a Henry Christ force technique (see Kabbala, Vol. 3, No. 3 ) .

It is derived from Paul Curry's Whispering Joker, Phoenix #131. Another variation was described in Jerry's own book, MEANS & ENDS. Here's the routine in Jerry's own words: Give the deck out for shuffling. Take it back, note the bottom card as a key, and shuffle it to the top. Simply for purposes of this explanation, assume that your key, now on top, is the 8C and the card beneath it, second from top, the JH. Perform a double turnover, saying to a spectator, "This card on top - the Jack of Hearts - do you think you would have any trouble remembering it?" Leaving the double card face up on top, give the deck to him, instructing him to place it behind his back, allowing your grip to linger until he has begun to do so. Make sure that he is situated so that other spectators cannot see the deck.

Ask him whether he remembers the name of the top card. Congratulate him - tongue in cheek - when he replies that it is the JH. Tell him that he will have a harder test in a moment, and ask him to bring the JH forward, and place it on the table.

Now ask him to turn the deck face up. Explain that he is to deal the cards from the face of the deck, calling the name of each as he does so. When he deals the JH, however, he is to miscall it by the name of HIS card. He then continues to deal through the rest of the deck properly naming each of the cards remaining. Caution him to avoid giving you any kind of clue, to hesitate on other cards if he wants to, to try to confuse you in any way but otherwise to follow your instructions.

Listen for your original key card - here, the 8C. The JH will be the next card; he will miscall it as his card, so remember the card named directly after the 8C. After he deals through the balance of the deck, tell him to re-exchange his card with the JH. I.e., he is to remove the latter, placing it on the table, and insert his card anywhere in the deck.

Facing front again, pick up the JH, stare at it, and appear to commune with it in some mystical way. Finally, as if receiving a message from the JH, announce the name of the spectator's card.

(The routine is described using a full deck. It can be as effectively and more quickly performed with half the deck. Simply have the spectator cut off half the deck and pocket or case it after shuffling at the outset.)

Explain that he will now select another card in a manner controlled only by chance.

Instruct him to lift off a portion of the deck of any size and turn it over - face up - onto the rest of the cards. Point out that a card which neither of you could know is now uppermost. TURN YOUR BACK and ask him to bring the deck forward so that he can see the card he has cut to .

Proceed by telling him to exchange the position of HIS card and the JH. I.e., he is to deal his card face up onto the table and place the JH face uppermost on the deck. Finally, have him turn all the face-up cards face down "so everything is the way it started."

Afterthoughts: There's no doubt in my mind that this can be built into a strong mental routine. It's a terrific (and sneaky!) use of a key card.

The presentation I use occasionally is to talk about the fact that after years of dealing with people - and years of experience - nobody can lie to me without my being aware of it.

I build up the idea of him trying to keep the same tone of voice throughout - give me no clues, etc. The entire point and buildup being that I can always tell when he lies and miscalls a card.

Remember - if you Xerox this magazine, you lessen its worth to YOU!

PUBLISHED, WRITTEN, EDITED : ART DIRECTOR

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cÂŁ/// Sfeinacfier

NEXT MONTH

Lenny Greenfader's Observation Test

Larry Becker's "Duck-Too"

Harry Lorayne's Poker Challenge Re-Visited

Marcello Truzzi's A Cut Above

Willie Brodersen's Deuces Are Wild

Dave Lederman's Spell-A-Name Force

Scott Weiser's Wave Change

Editorial This is the anniversary issue (one year) of Apocalypse.

(I can't imagine where that year has gone!) I guess it's part of the publisher's lot to list some of his thoughts after one year of issue.

In my opening editorial (first issue), I wrote that my main goal was "to publish a magazine that you'll eagerly look forward to receiving, or buying at your dealer, each month."

From the mail I've received, I think Apocalypse has attained that goal.

I also wrote that I'd be trying my darndest to bring you the best and newest in magic again, from the mail I've received, Apocalypse has managed to sustain just that kind of quality. I don't want to list them here, but look over the index of the first twelve issues and you'll find quite a few effects, sleights, and routines, each one of which can be said to be "worth the price of your subscription."

The most difficult part of putting out Apocalypse is the decision-making - which contributions should be used, and which shouldn't. There's no way I can be right all the time.

My feeling is that if I'm right at least 50% to 55% of the time, I'm giving you your money's worth. If I'm right OVER 55% of the time, I'm giving you more than we bargained for!

I also promised that Apocalypse would be on time each and every month. So far, not only has Apocalypse been on time - it's been about one month EARLY each issue! I intend to continue that policy. Just as I intend, to the best of my ability, and with the help of contributors, to continue the policy of quality - the newest and the best in magic.

Other than that, and for those of you who care, my only other thoughts are related, again, to what I wrote in the first issue's editorial. I said that, basically, putting out a monthly magic magazine is a labor of love. I had no idea then of just how MUCH of a labor of love it would be! The time it consumes is much more than I thought I'd have to consume. There's mailing and calling and writing and editing and deciding and searching and photographing and laying out and...on and on.

As usual, what makes it all worthwhile, is YOUR gratifying reaction and response to my efforts. I've got to tell you, because I'm proud of it, that I've received ONE negative piece of mail (anonymous, and using obscene language!) against many hundreds of positive pieces of mail and remarks.

I might as well take this opportunity to thank you all for your kind words, and support.

Well, those are a few of the thoughts flitting through my mind after one year of issue. I could go on for another few paragraphs, but I've got to get back to preparing the next issue.

Harry.

APOCALYPSE is published every month by Harry Lorayne, at: 62 Jane St., New York, N. Y. 10014.

All checks are to be made payable to Harry Lorayne, and mailed to him at that address.

Individual issues - $3.00 each Subscription - $30.00 per year

Overseas subscription - $33-50 surface (U.S.A. dollars only) - $39.00 air mail - $40.50 airmail to Australia, Japan, etc,

156

Lorayne 's VOL.2 N0.2

THREE DOLLARS

FEBRUARY,1979

pocalypse ight 1979 by H. LORAYNE , I N C .

ISSUE NO.14

Larry had a bunch of magicians screaming with laughter when I saw him perform this for them. And - he fooled a few of them, too. It is the little story that goes with it that makes it good.

"There's a town in Poland, named "Chutzpah" (pronounce the "ch" in Chutzpah as if you're clearing your throat). "They play only one card game there, it's called Duck-Two, and they never lose when playing against a stranger.

The first part of the game is to let the stranger shuffle the deck."

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Let someone shuffle any deck. Take it back, turn it face to you, and start spreading from hand to hand. What you do is find the mate of the FACE card. So, if the bottom (face) card of the deck is the, say, 2H, look for the 2D. "Then the native of Chutzpah places any card onto the table." Place the 2D face down to your left. Don't let anyone see it.

Place the squared, face-down, deck onto the table. Ask your spectator to cut off about half the deck (top half) and to shuffle it thoroughly. Patter about this being part of the game. Tell him to place the half deck face down onto the table - indicate an area near the bottom half.

As he places his half, pick up the bottom half. "Then the guy from Chutzpah would yell, 'Duck-TWO,' as he ducked two cards, like this."

Toss the half deck smartly from right to left hand, leaving two cards - top and bottom - in your right hand. This is a standard "toss," usually used for the production of two aces during a four-ace routine. Light pressure of right thumb on top and fingers on bottom of the half deck does it. (See Fig. 1.)

Move the deck to the right of the original card you took out of the deck. Turn up that single card (the 2D). "This is the card that the 'Chutzpahner' originally took out of the deck. If this card (point to the top card of the deck) matches it, after all that shuffling, then he wins.

"But, any gambling expert will tell you that that's almost impossible."

Turn up the top card of the deck, placing it face up to the right of the deck, as you say, "But, in Chutzpah, they never lose!"

(See Fig. 2.)

Drop the two cards onto the half deck he just shuffled and placed onto the table - as you say, "...ducked two cards, like this." Immediately hand him the half deck that you tossed into your left hand. Tell him to shuffle it. Have him place it onto the table, as before, near the already-tabled half.

As he places it, pick up the already-tabled half, saying, "Then the guy from Chutzpah would yell, 'Duck-TWO,1 and duck two cards again." Do exactly as before. Place the two right-hand cards onto the half he's just shuffled and placed onto the table, and then place the left-hand half ONTO those (half deck).

Afterthoughts: You'll fool laymen with this, and confuse a few magicians. The match at the end is a surprise after all the shuffling. Remove the original card casually, as if it really could be any card. What I do here is to give the deck one cut, using my own HaLo Cut, as I place the deck to the table. This keeps the bottom card on bottom, of course.

Any cut or shuffle will do.

As I said, it's the story I like - combined with the effect. Larry told me that when he really presents the thing, screaming the phrase "Duck-TWOOO" when he does the "snap toss" - it becomes a running gag for the evening. People yelling "Duck-TWOOO" at each other!

I've written it basically as he presented it for me - you can change the story to fit you and your way, and speed, of handling.

Spell~a~name Force I'm including this here mainly because A Cut Above is also in this issue. When you read that pretty effect, you'll see that the spectator is forced to select one card of five (in a couple of my suggested presentations).

Dave does a routine wherein he has to force one card of four. He asks his spectator to spell ANY name - a friend, someone he knows or only heard of, a celebrity, ANY name - one card per letter, from the top of the deck and onto the table. The card he ends on, or the next card, is always one of the force cards.

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Set your vital cards, in a known order, so that they lie every other card starting with the 8th card from top. In other words, the vital cards lie in 8th, 10th, 12th, 14th, and 16th positions. The idea of having cards lying in every other position for a force is not new, but I've not heard of the name-spelling concept before.

It's based on the fact that most names spell with between 10 to 14 letters. And, even if the thought-of name doesn't spell with 10 to 14 letters (8 to 16, as far as you're concerned), you can still get to one of the force cards in a natural way.

If the name he spells is too long (it would have to be 17 letters or more), use the same outs (Mr., Miss, or Mrs.) but with the SPELLED packet. That is, he spells, dealing into a new small packet, from the top of the originally spelled packet.

What Dave does is to count mentally as the spectator deals and spells, mentally. If he stops with a force card on top of the spelled packet OR the deck proper (See Fig. 1 ) , he has him look at that card, and continues with the routine.

Afterthoughts: That's all there is to it.

All you have to do is keep track of the force cards.

You can use "male" or "female" instead of "Mr.," etc., if you like, or if you have to. I find that setting from 8th to 16th works all the time; you may want to try setting from 10th to 18th.

With the proper "mental" type patter, this can fit perfectly for A Cut Above - or other routines where one of four or five cards must be forced.

If, however, he stops too soon to reach a force card (that would have to be a name with six letters, or less), say, "Did you spell the entire name?" If he says that he spelled only the first, or only the second, name casually tell him to spell the other name, too. This will usually bring you to a force card. If he says that he spelled the entire name, casually say, "Please spell Mr., Miss, or Mrs. - whatever the person happens to be." That, again, will usually bring you to a force card.

Every so often an idea comes along that's so simple and so good that it always makes me want to kick myself for not having thought of it myself. This is one of those. The basic effect is this: You display a paper tube - actually a sleeve; a flat tube. You say that it contains another piece of paper, and that you will explain it in a moment. Place it back into your pocket until needed.

You display a deck of ESP cards, or only five of them (one of each symbol) if you prefer. One symbol is FREELY selected by your spectator. Now, you bring out the paper sleeve and explain that inside is a strip of paper on which the five symbols are drawn side by side.

The flat (outer) tube has five lines drawn on it, as in (Fig. 1 ) .

Your spectator is given a pair of scissors and he cuts along one line, through both the sleeve and the inside strip. You dump the two pieces of the strip out of the two sections of sleeve. All symbols are on it, but the one that's cut in half matches the spectator's choice! Everything is left for examination.

You say, "You might think that someone could change a piece of paper or perhaps do secret unseen drawings - but, if I ask you to cut a piece of paper in half, there's no way that cut can be changed, moved, or made to disappear; it would be a DEFINITE. Each of these lines bisects one of the symbols on the inner strip of paper, so that if you cut through one of them, you'll be cutting one symbol in half.

Would you please cut through any line."

Think about this for a moment; it's as simple and direct as that. The spectator's choice is a free one, and he really cuts along and through any line.

159

Marcello tells me that it's based on a commercial effect called Chinese Prediction. I myself used the idea in an effect called Line O'Type in my book, THE MAGIC BOOK.

You'll have to make up FIVE sleeves and five inner strips. I prefer the inside strip to be of a slightly thicker, or stiffer, paper; almost a thin cardboard. The sleeve should be a bit wider than the strip so that it's easy to dump out the two -strip pieces after the cut.

Using a deck of ESP cards, you can place one of each symbol face up onto the table and let your spectator freely indicate one of them.

This way, of course, you see the symbol. I think it's stronger if the cards are face down.

Each inner strip (which is the same length as the sleeve) is prepared to show that a different one of the five symbols has been cut in half. This preparation is simple - half the symbol to be forced is drawn on each of the two ends of the strip, as shown in (Fig. 2 ) . This figure shows the SQUARE ready to be forced. It is already bisected - at the ends!

There are a few ways to accomplish that.

Either have one of each symbol (five cards), in a known order, on top; shuffle, keeping them there; then deal the top five onto the table and let your spectator indicate one - you know which it is because of the known order. Or if you want to allow the five face-down cards to be mixed, mark their backs. If you're going to take the time to do that, you might as well take the time to mark the entire deck.

Then, you can have the deck shuffled and allow ANY card to be pushed out of a face-down deck.

Because you have five different options, you can repeat the effect with another spectator, if you like. . He selects a different design (from the remaining four cards, if you're using only five cards on the table), and you bring out the appropriate paper sleeve.

The dotted lines in figure 2 show where the "cutting" lines are drawn on the outside of the paper sleeve. As you can see, each of the five lines actually mark the SPACES BETWEEN symbols.

The secret should now be obvious to you.

No matter which line he cuts through, it' will appear as though he's cut through the square!

Dump the two pieces out of the sleeve and simply place them together, as in (Fig. 3 ) , to show that the square was cut through! This illustration shows what it would look like if the spectator cut through the second (dotted) line from the left in figure 2. The ends the spectator really cut are now on the ends of the reversed strip; it appears as if the pre-cut ends are where he cut.

The presentation is up to you. It should, of course, be along mentalism lines, and it can take many directions. The five paper sleeves are in your jacket pocket, in known order. I always keep them in circle-cross-trianglesquare-wavy lines order. That's because a circle is drawn with ONE (continuous) line; a cross with TWO lines; a triangle with THREE; a square with FOUR, and FIVE wavy lines.

I suggested that you show one sleeve before you start, and then replace it into your pocket. Obviously, you don't have to do it that way. You may prefer to wait until a symbol is selected, then bring out the correct sleeve, explain what it is - and go right into the ending. If you keep one sleeve in each of five different pockets, you'd avoid fidgeting, or stalling. Just reach into the proper pocket and bring out the sleeve.

Afterthoughts: I love it! It's good magic. A few thoughts on handling: Since the sleeve is a bit wider than the strip, make sure you don't let it fall out prematurely. Also, it mustn't protrude from the sleeve during the spectator's cut; the strip ends are flush with the sleeve ends. Easily solved; just apply some pressure as you hold and handle the sleeve.

Also, you can draw the symbols on both sides of the strips - exactly duplicated, of course.

The cutting lines can be on both sides of the sleeve, too.

You might try casually reversing the pieces of the sleeve, without dumping out the strip pieces first. Then let the spectator remove the strip pieces himself.

Many other possibilities suggest themselves - including having spectators predict one another's cuts (let one spectator really cut through a symbol - no sleeve. You bring out the correct sleeve and have another spectator cut that), etc.

This can, of course, be done with regular cards; force the five cards that match your five prepared sleeve/strips. You can draw the cards on the strips, or glue miniature cards onto them.

Finally, you don't need five prepared strips - only one will suffice if you force one specific symbol or card. I prefer the routine as explained in the text.

(All commercial rights reserved by M. Truzzi.)

160

Lenny- Qreenfader This is a clean vanish of three coins.

The preparation is simple. Attach a nickel and a penny onto a quarter with double-sided Scotch tape so that they look as in (Fig. 1 ) . The (copper) penny is for contrast; it looks better than, say, a dime.

When seated at a table, reach into your pocket with your left hand and remove the "gimmick" (nickel and penny uppermost) and one loose quarter. The loose coin should be on, not under, the gimmick.

(See Fig. 1A.)

1A

Ob^fc/lVfttlOU Turn your left (loose) fist back of hand up. The hand is just above the tabletop, and about five or six inches away from the table's edge - toward your spectator.

With your right thumb and forefinger, reach into your left hand, at the thumb opening, and remove the loose quarter. As you do, let the gimmick rest on your left fingertips, and work it out of your hand so that your fingertips hold it against the heel of your palm.

(See Fig. 2) for an exposed view.

This takes a split second, and as you do it, say, "If I take one coin away..." Move your right hand, and the quarter, to your right and upward. Turn your head in that direction, looking at the quarter.

As you turn to look at the quarter, your left fist moves back to the table edge and laps the gimmick. This is instantaneous, because of the described grip. All you have to do is to relax your left fingertips. Move the hand back to where it was, as you finish the sentence - "...About how many coins would still be in this hand?" Indicate your left fist.

Whatever the answer, open your left hand, showing it empty, as you make a closing remark, like, "Money doesn't last too long these days!"

Afterthoughts: Simple, and effective.

The Scotch tape will hold the gimmick together for two or three performances - then, replace.

Lenny's presentation is as follows: He says, "At a fast glance, can you tell how many coins are here?" He opens and closes his hand, quickly. "Don't tell me how many you think there are, just try to observe them. I'll show them to you once more." He does; again, opening and closing his hand quickly.

What I usually do, as I reach into my pocket with my left hand, to get the gimmick, is to say, "I need some change; anyone have any? Oh, I have some. I could use one more coin; perhaps a quarter."

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I take the quarter and toss it into my left hand, causing a clink - "Did you see how many coins are in my hand?" Go on from there.

c

Willie Bfbdetseii

Having a group of coins stuck together is not a new idea, of course, and Lenny doesn't claim that it is. His quick routine, however, is a fooler. I like the idea of using Scotch tape instead of solder, to keep the coins together. That way, when you need the 3lÂŁ > you just take the coins apart!

Deuces are cWild

This routine is a little lesson in misdirection. When I saw Willie perform it the first time, he fooled a group of other magicians. The sleight involved isn't difficult but the timing may be. I had to go over it a few times, first with Willie, and then by myself, before it started to flow. The basic effect is simple and direct; a selected card magically appears under a glass. It's a completely impromptu routine.

You should be standing at a table, opposite your spectator. There's an empty, drinking glass (make sure it's dry) on the table, to your right. Have him select, remember, and return a card. Control it to the bottom of the deck. For the remainder of the routine, be careful not to flash the bottom card.

As you patter about his card being lost, do a hand-to-hand spread of the deck, faces toward you, and remove any deuce. Place it on top. Square the deck, and hold it face down.

Bend slightly, to place the deuce, face down, under the glass. As you do, get the deck into the Ovette Secret Move (or Kelly's Bottom Placement) position in your right hand. Or, get the deck into position first, then slide off the top card and put it under the glass.

Straighten up and say, "Would it be a miracle if that was your card? I mean this card right here." This is the feint, and it's important. It gets the spectator used to the action. Bend to lift the glass just as you did a moment ago - remember, the deck is still in position in your right hand. With your left fingers slide the card about a foot to your left in an indicatory gesture. Then slide it back to beneath the glass. Straighten up.

(I'm assuming you have to bend down a bit to raise the glass.)

"Well, I think it would be a pretty good trick." The next action is the crucial one.

You'll be lifting the deuce and raising it to your left, to almost shoulder height, left arm almost fully extended. The back of the card will be toward the spectator. It's as you do this that you'll be loading the selected card under the glass.

Approach the glass with both hands. As you move, start to do the Ovette move. But, for this, don't stop. Your right second and third fingers keep moving the bottom card to the right until it's at about the position in (Fig. 2 ) . This is an exposed view, of course.

You'll find that when you're in position you'll be able to extend your right thumb and forefinger. If not, maneuver a bit; you'll get it soon. These two fingers lift the glass as you place the deuce under it. (See Fig. 1.)

Sorry - couldn't fit Paul Harris' fine Four Finger Finale into the January issue, It will run as soon as possible.

162

You should have the card at that position just before you reach the glass. * Now with your left hand, remove the deck from your right hand by grasping it at its left long side. This action leaves the selected card in your right hand; grasped by your bent second and third fingertips. (See Fig. 3-)

Lift and move that card to your left and upward (off the table) at the same time. Keep its back to your audience. Your body starts to turn to your left, and all your attention is on that card. AS you turn, looking at the card as your spectators should be, open your right fingers, allowing the stolen card to fall onto the table - and gently replace the glass on it!

No need to rush this. Just do it smoothly. The actions are all completely natural.

There's one possible problem here. If, when you grasp the glass, the hidden card's left long side butts up against it, you'll have trouble dropping the card - it'll "hang-up" on the glass. The way to avoid that is to be sure that the card doesn't touch the glass. Extend your right thumb and forefinger a bit as you pick up the glass; be sure your hand is palm down and parallel to the table. That'll do it.

The deck goes onto your left palm, leaving your left thumb and forefinger free to pick up the deuce. All this is done as you move toward the glass. Lift the glass with your right thumb and forefinger, as before; lift it directly, straight, up about two inches. Lift the deuce by sliding it to the left, then placing your left thumbtip on its back near the outer end and your forefingertip under the outer end. This is to facilitate a smooth pickup. Any fumbling here may throw off your timing. (See Fig. 4-. )

You're talking as it's being done. "What was your card?" He names it. Turn the deuce face toward him with your left fingers. "Oops.

Oh, well. I forgot to tell you that deuces are wild!" The correct timing is to start your patter as soon as you start moving the deuce.

Willie holds his arm completely outstretched, incidentally. You straighten up and end the patter looking directly at your spectator.

You might take a step or two backward and/or to your left.

"What is your card again?" He tells you.

"Oh; look under the glass, will you?" It's a startler!

Afterthoughts: When you lift the glass while holding the stolen card, be sure to keep your right hand palm down and parallel to the tabletop. This takes care of the "hang-up" as I've mentioned, and it also assures that the card is completely covered.

Work on the timing. The misdirection is strong and natural when it's done properly.

You can keep talking to your spectator for a while after you've loaded the card, and move farther away from the table. Again, when done properly, that card won't be noticed until you call attention to the glass.

On the off chance that the selected card is a deuce - place a contrasting-color deuce under the glass.

Jlrt director

, written, edited: HARRY

BILL STEINACKER

LORAYNE

163

Hartjr ^otayne

Poker* Challenge Revisited

Exactly one year ago (Vol. 1, No. 2, page 13) my effect, Poker Challenge, appeared in Apocalypse. It created a bit of a stir. I've received quite a bit of mail on it. One subscriber, who prefers to remain anonymous, had an excellent thought - why not eliminate the force of one of five cards?

This can be done, he suggested, if you use a stack of 25 cards (5 poker hands). The subscriber sent me a formula (algebraic) for picking up the hands so that the effect would work out no matter which card in which of the 5 hands the spectator selected. Also - you wouldn't have to deal 6 hands after the original 5-hand deal. (Frankly, it was the dealing of 6 hands the second time that I felt made my effect strong.)

Anyway, I could NOT get his formula to work for all possible selections. And, even if I did, I felt it was a bit too complicated. His idea, however, is good and it got me to thinking. What follows is the method of calculation I worked out. You may think that IT'S too complicated. It really isn't. You depend on your own eyesight, common sense, and simple arithmetic (counting) ability.

And, if you're familiar with Poker Challenge (you should be, or this won't make much sense), this also eliminates the slight discrepancy of the reversal of position. (In my effect, if the selected card was the fourth card in a hand, it was actually the SECOND card dealt to that hand.)

Let's see if I can explain this. First of all, get the four royal flushes to the top of the deck - each group of five cards is together, in any order. You need one more "pat" hand.

Use, say, the four deuces and one indifferent card. All five hands (25 cards) are on top.

False shuffle, keeping the top 25 cards intact, then deal out a 5-hand poker layout, dealing alternately, as you ordinarily would. As you deal the first round, mention that this is the first card in each hand. As you deal the second round, point out that this is the 2nd card, etc.

The diagram shows the layout at this point. Be sure to overlap downward as you deal. is important because you'll want to see all cards clearly in order to calculate instantly.

This

Using the basic patter I explained in the original version, let a spectator indicate any card in any of the 5 hands. Counting from the top (A, in the diagram) down, mention the card's position, and the hand it's in. Example; if D in hand #3 is indicated, you'd remark that he selected the 4th card (it really IS the ith card dealt to that hand) in the 3rd hand. He's to remember the card, and its position.

Show the card. Flash the remaining cards in that hand. Unlike my original effect, here you may show a pair or two pairs in the hand. But if you show the cards quickly and casually, and mention that it's a nondescript hand - it's no problem. Replace the selected card to position.

Now, we come to the calculations. The first thing you want to calculate is - at what position must the selected card be (after the hands are gathered) in order for it to reappear at its original position. That is, original position in the original hand.

It's easy; and your calculation should be done as you display the selected card. Let's assume he selected D (4th card) in the 3rd hand. Look at it in the diagram. There are three cards above the indicated card. Now, let me clear this up. When I say "above" it, I mean looking upward. Actually, D is 2nd from top in the hand, but you're interested in the cards you see ABOVE it. (If B is selected, there's one card above it.)

All right; multiply the number of cards above the selected card by 5 (because there are 5 cards in each hand). In this case, there are 3 cards - times 5. is 15- (Instead of multiplying, you can simply count by 5's; 5. 10, 15-) Add to that the number (position) of the hand - in this example, 3. That's 18. The 4th card in the 3rd hand has to be brought to 18th position (from the top) in order for this to work.

The number of cards above the selection also TELLS you how many HANDS must go ONTO the selected hand. There are 3 cards above the selected card - so, you'll get 3 of the other hands onto the 3rd hand.

The final calculation is also simple. You're putting 3 hands (15 cards) onto the 3rd hand.

Just look at the 3rd hand, and you'll see that if you put 15 cards onto it, the selected card becomes the 17th card (because it's 2nd from top in the hand). So, obviously, you've got to place one more card onto all.

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Now, this will work if you cut one card from bottom to top of the 25-card packet and then drop the packet onto the rest of the deck, or if you drop the 25 cards onto the rest of the deck first and then shuffle, or cut, one card from bottom to top. I prefer to gather the hands - in a seemingly haphazard way - drop them onto the rest of the deck, then shuffle.

Deal out 5 hands (using the basic patter explained in my original Poker Challenge). The 4th card in the .3rd hand will be the selected card; the other four cards will complete the "pat" hand. Don't show any of the other hands because most of them will also be "pat."

The basic method of calculation I've just explained will work no matter which card is selected. In some cases, you'll have to add cards onto the stack, and in others you'll have to remove cards FROM the top (by running them in an overhand shuffle, or by double cutting from top to bottom). Here's one example: Assume the selection is the 2nd card (B) in the 2nd hand.

First, calculate where it must fall. There's one card above it - times 5 - is 5- Add the position of the hand (2), to reach 7. The selection must end up at 7th from top.

Okay; there's one card above the selection - gather the hands so that one hand (ANY hand) goes on top of the 2nd hand. As you do, you can see that this places the vital card to 9th position (it's 4th from the top of its hand and you're putting 5 cards onto that). So, drop all 25 cards onto the rest of the deck - then shuffle and/or cut, getting 2 cards from top to

bottom (or anywhere beneath the stack).

It'll all work out now.

If any first card (A's in the diagram) is selected, you need do hardly any calculation.

Simply gather so that the selected hand goes on top (you can do this straight, or keep a break or step above the hand, then cut it to the top). Place all 25 cards onto the rest of the deck.

Then, cut the vital card to position. Simply shift enough cards from top to bottom to place it properly. For the 1st card in the 1st hand - cut 4 cards top to bottom, bringing the selection to the top. For the 1st card in the 2nd hand, cut 3 cards, bringing the selection to 2nd position. For the 1st card in the 3rd hand, cut 2 cards, bringing the selection to 3rd position.

For the 1st card in the 4th hand, cut one card, bringing the selection to 4th position. For the 1st card in the 5th hand, just get the 5th hand to the top - no shifting of cards is necessary; the selection is already at 5th position from the top.

There are five cards that require no shifting of cards; you just have to get the proper number of hands onto the selected hand. The 5th card (E) in the 1st hand has to end up at 21st position. There are 4 cards above it, so you know that you have to get 4 other hands onto the 1st hand (or the 1st hand must be the lowermost hand). It will be at 21st position.

The 4th card (D) in the 2nd hand has to go to 17th position. My little formula (3 cards above it) tells you that 3 hands go onto it. No shifting of cards is necessary; the vital card is at 17th position. The 3rd card (C) in the 3rd hand must go to 13th position. When you get 2 hands onto the 3rd hand, the selection is automatically at 13th position. The 2nd card (B) in the 4th hand has to be at 9th position. Get one hand onto it - and it's automatically there.

I've already mentioned the 1st card (A) in the 5th hand. Just bring that hand to the top.

You don't have to memorize these positions. Your calculations will tell you that no cards need to be shifted. If you use this effect often enough, you'll eventually know them anyway.

Afterthoughts: If you deal out the 5 pat hands, and try this a few times, it will all clear up for you. It's nowhere as complicated as it reads. It's all quite obvious, really.

I don't know whether I'd use it too often. I frankly prefer my original Poker Challenge.

I feel, however, that many subscribers may like it. That's why it's included here.

I have used it a few times - when I had plenty of time to set the 5 "pat" hands, or when I'd finished a routine where I ended with four pat hands already easily available.

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c

Weiser

Wave Change

This is as magical a visible coin change as you'll ever see. It's Scott's variation of a John Cornelius change.

A, say, silver coin (half dollar) is on your close-up pad. A copper coin (English penny) is classic palmed in your right hand. The visible coin does NOT have to be near the table edge; it can be just below center of your pad.

Your naturally open hands approach, and cover, the coin; your right hand beneath your left hand. The base of your right thumb goes directly onto the visible coin as the hand relaxes and releases the palmed coin. (See Fig. 1) to see a rear view just before your hands make contact.

That's why this is called the "Wave" change - it appears as if your hands merely wave over the coin ONCE. Remember to move your hands to the sides first, display the change, THEN show your palms as you clean up. It's difficult to describe the complete action, particularly the clean-up; just try it a few times. When it starts to flow, you've got it!

I believe that Scott uses the move in a quick and effective copper-silver routine. You need an extra, say, half dollar. This extra silver coin is palmed in your right hand. One copper and silver are displayed on your pad.

Say that you want your spectator to hold the copper coin (or, use a magicians' choice).

As you talk, your right hand scoops the copper off the table edge onto your lap and places the palmed silver into his hand. (See Fig. 4.)

This is a fairly standard switch. Of course, you place it into his hand and close his hand so that he doesn't see the coin.

There's no pause here. Move both hands simultaneously - left hand to the left and right hand to the right. Your right hand slides along the original visible coin. The copper coin is now visible - it's an instant change. (See Fig. 2.)

Pause for a beat. The clean-up is done as both hands are turned palm up to show them empty. Both hands move backward as they start turning over. They should NOT move off the table. The hidden coin - because it's at the thumb base, near your wrist - falls off the edge onto your lap as your hands complete their turn - ending up AWAY from the table edge.

(See Fig. 3-)

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Make a remark as you casually show your empty hands. Make another remark as you relax, dropping your right hand to your lap and repalm the lapped (copper) coin. Your attention is on the visible, tabled, half dollar.

Ask your spectator to hold the copper(?) coin tightly. Look at the tabled half dollar so that all attention is on it. Perform the Wave change, changing the silver to copper.

The spectator opens his hand - h e ' s holding the half dollar, of course.

And, the Wave change works beautifully with one of the giant coin replicas available in most magic stores.

The large coin is displayed on your pad.

A regular coin is palmed in your right hand.

Do the Wave change exactly as described except - instead of your right thumb base contacting the large coin, make contact with the entire palm base, near your wrist. Contact the coin near its lower edge. (See Fig. 5.)

Now, continue and end as explained. Even if a part of the large coin is not covered - if you do the change properly, it won't be seen.

The change is very magical.

Afterthoughts: I can only repeat that the change looks terrific when done properly. Work on it.

Remember - if you Xerox this magazine, you lessen its worth to YOU!

Out to

continued from page 131

As long as I'm talking about some of my table magic, and related, experiences in this "Out To Lunch" section - I thought I'd backtrack even more years. I did my first professional STAGE magic show when I was about eight years old. (At a place called the RRS; Recreation Rooms & Settlement, on the lower east side of Manhattan.) I received $5.00 (for me, then WOW!) - so I guess it was "professional." I was a smash! I really couldn't miss - I must have been about three feet tall, and wore TAILS! I remember that one of the highlights of my act was the multiplying billiard balls. (I'd done it for a while under the auspices of an elderly magician, named Raymonde - I think.

Whenever he had an appearance to do, he'd take me along to do my billiard ball routine. I believe he gave me a dollar each time. I would have paid HIM, if I had the money! I learned a lot for a little kid.)

I used ping pong balls. They were painted red. I simply cut one in half, reinforced the inside with two strips of adhesive tape - and I had my shell. I wasn't too hot with patter.

My favorite word at the time was "thus." Whatever I did, that word was there. "If I place this ball here, thus..." etc. I must have said the word a hundred times during a performance.

No point; it's just a nostalgic memory.

Another one, and funny, I think - appeared in THE MAGIC BOOK (G. P. Putnams' Sons, NYC).

Here's the vignette from that book: I'm doing some card magic for friends, in the street. Standing quietly watching is an older guy wearing a black suit, well fitted except for a slight bulge at the left armpit, with thin white stripes, black shirt, white tie, shiny black shoes, and a white hat. His name is Duke. Many guys who look and dress like that on the Lower East Side are called Duke!

When I finish, he says, "Listen, kid, come with me. Do some of that stuff for my pals."

I'm about fourteen, and small; I don't argue with older guys named Duke! He takes me to a car, and we drive uptown. I'm scared, but proud. I figure he liked my card tricks. At least, I hope that's why he's "taking me for a ride."

He stops in front of an old building - a hotel - and takes me into the lobby. There's a bunch of guys sitting around; all of them look like Duke!

"Hey, fellas, c'mere; watch this kid.

Knock your eyes out."

They gather around - about nineteen guys.

It's my largest audience ever. My voice is shaking, and so are my hands.

"Lemme see those cards! deck, kid."

"Okay.

Do that with this

Yessir."

Soon it's time for the great ending. I begin the effect - the one in which a card is taken, shuffled into the deck, and then appears in my jacket pocket.

I do the big buildup. All the Dukes stand with their "orbs plastered to my mitts," which is how they say their eyes never leave my hands.

The card is lost, shuffled, into the deck.

I show my hands empty. My left hand pulls the left front of my jacket open, and my right hand darts toward the left inside pocket.

At the same instant - Z-Z-ZIP - nineteen other right hands slither into nineteen other inside jacket pockets!!

FREEZE! to be continued.

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C

Ellipses (...)

Yes, it's truej Irv Tannen has retired... the end of an era, I guess.. .he'11 be missed... will still be in one or two days a week; can't stay away...Tony Spina and Jack Ferero, of course, are excellent ball carriers. Looy Simonoff (Kenomental, Flippant, Staple And Stab, Mental Symmetry - all in Apocalypse) visited NYC...he's a resident of Las Vegas; came to visit me at my home late at night, with Russell Barnhart, for an hour...ended up five hours... loved every minute ... he's a knowledgeable, and nice, man.

Les Gemeaux is a restaurant high up on the Grande Corniche between Nice and Monaco, in the south of France. Some French magic friends took us there for dinner...Marie Theresa, the lady who owns the restaurant, was a professional magicienne for years...she had her bartender put on some music, throw a baby spotlight on her...and proceeded to do some very good, professional coin, cigarette, and thimble manipulations ... drop in for good food and to say hello if you're in that part of the world... don't know if it's open all year.

Dick Cavett told me he feels guilty because he hasn't sent me a promised article for Apocalypse... no need, Dick - I know how busy you are. The S.A.M. convention in NYC, last July was pretty good. Two things I didn't like... rip-offs in the dealers' area, even though guards were always on duty... supposed to be, anyway...hardest hit - Al Schneider; lots of his coins, lists of customers, etc...too bad.

Second thing - there was no "schmoozing" place...a central area, coffee available perhaps, where the guys could sit, meet, talk, exchange magic...I think that's one of the things magic conventioneers look forward to.

One problem never solved at any convention is the problem of the close-up sessions... seats never close enough to performers' tables; can't really see real close-up work...don't know how to solve it...raised seats? less people at each session? don't know. Thought of another thing I didn't like... during the large evening shows, bunch of little children all along the front of the raised stage...most annoying to people in front and to the performers...nobody did anything about it. Parents should either not bring small children, or keep them at their seats - quietly.

Al Schneider promised some effects for Apocalypse...love to have 'em. Pat on the back dept: Thanks to Ian Baxter for his review in The Blueprint (Australia) and for these words: "HL's foreword in THE MAGIC BOOK is the best foreword on magic ever written"... those are nice words...he may feel that way because the preface and foreword in that book are autobiographical and heartfelt.

Howard Flint is a funny man...so is Johnny Thompson...he promised contributions for Apocalypse, at the convention...never found each other again...he'11 send the stuff, I know.

Not nice news...Emil Loew mugged and Ken Krenzel hit by a car; Ken had some complications but both are all right now.

September, 1978, M.U.M. magazine reversed names under two pictures...had Pat Page spinning cards all over the place, and me in kilts.

Forewarned is forearmed (or something like that) dep't: There's a rip-off of my THE EPITOME LOCATION out of England. Be careful...it is not THE EPITOME LOCATION ... it's worthless. Incidentally, if you can get Phil Goldstein to do his presentation of THE EPITOME LOCATION for you, you'll see the closest thing ever to REAL mindreading with cards.

I didn't know I was writing a text book when I wrote THE MAGIC BOOK...lots of calls and letters about magicians using it that way at magic classes...that's nice. Personal to the Xeraniac (or "acs") in the Pittsburgh area...

BIG BROTHER has his eye on you!

Interesting - a book reviewer reviewing my book, THE CARD CLASSICS OF KEN KRENZEL, mentioned two or three times that the book was late... it was - about two weeks late...I'd advertised "available in April," printer got books to me on May l6th...filled orders that day...what's interesting is that his nice review of the book (available in May) appeared in a magic magazine in SEPTEMBER - four months after the book!

The title of my upcoming book (yes, folks.., most likely my last - of my own material anyway) has been changed (from "Blockbusters") to QUANTUM LEAPS...it's all cards, all my own routines and effects...lots of which I've been keeping to myself all these years...watch for it.

If you're changing your address, PLEASE let me know as soon as possible, if not sooner.

Got news? Gossip? Personal touches on tricks or routines? Can't promise...but might use it in this space...send it along.

(Partly because of the holiday mail rush and other goofs, you may receive the January issue a bit late. Bear with us.)

NEXT MONTH Mike Bornstein tries the angles...

Larry West extends into acrobatics...

Tom Gagnon forgets how to gamble...

Jim Ryan goes on a tear...

Ron Frost follows along...

Kirk Stiles boxes (coins)...

APOCALYPSE is published every month by Harry Lorayne, at: 62 Jane St., New York, N. Y. 10014.

All checks are to be made payable to Harry Lorayne, and mailed to him at that address.

Individual issues - $3-00 each Subscription - $30.00 per year

Overseas subscription - $33-50 surface mail (U.S.A. dollars only) - $39.00 air mail - $40.50 airmail to Australia, Japan, So. Africa, etc.

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Lofayne's THREE DOLLARS

VOL.2 NO.3

MARCH,1979

pocalypse ISSUE NO.15

Mike is an old friend from "way back."

He sent me this routine saying that he didn't know if I'd like it. I don't like it - I love it!

You won't realize how good it is until you try it.

liAiliiiftfl

If you are called upon to do a trick, and you'd like to do a "matrix" effect (four coins, etc.), you have to pull a card or two out of your pocket. Mike feels that this doesn't really make sense unless you've been doing, card tricks before. It makes more sense to use money all the way - like a dollar bill!

I agree.

You need the following: Three regular half dollars (silver) and a regular English penny (copper); one expanded half dollar shell and one silver/copper (double-sided) coin to match. The double-sided coin should fit loosely into the shell.

Two silvers and the shell with the double-sided coin in it (silver side out, of course) are in your left-hand pocket. In your right pocket is a dollar bill, along with a half dollar and a copper. You might want to keep the copper in your small change pocket so that it's separated from the half dollar and you know which is which.

I COPYRIGHT 1979 by H.LORAYNE INC.

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Do the throwing motion with your left hand, show that the coin is gone. Take off the folded bill just as before - but no "jerk" is necessary.

To perform: Remove the three half dollars from your left pocket (one is the shell and double-sided coin). Casually fan and display them, both sides. The gimmicked coin is on bottom (this isn't crucial; it can be on top at this point). Place the coins onto the table near you and spread them into a triangle.

The gimmick is near you; the other two are away from you - upper left and upper right.

Reach into your right pocket; finger palm, or clip, the half dollar and come out with the dollar bill. Show both sides of the bill, then fold it into a small square so that the hidden half dollar is inside the folds.

This shouldn't be any problem for you.

Fold in half once, coin hidden inside. Fold in half again - same direction. Then, as you turn to fold it once the other way, let the coin slide down to the lower end. Fold the upper end down. The coin is hidden in the lower folds of the packet. If it protrudes slightly, no problem. That end will be toward you and the edge won't be seen. In practice, you'll probably fold the final fold off center to cover the edge of the coin.

Grease the last fold well. But even so the top part of the packet will rise when you aren't holding it. Show both sides of the folded bill, then place it, openings toward you, onto the coin nearest you - the gimmick.

(See Fig. 1.)

Three coins are now visibly stacked.

This time display them by spreading them into a horizontal row on the table. Re-stack them, with the gimmick on bottom. Place the folded bill onto the stack.

Patter about making it a bit more difficult. Reach into your right pocket; leave the silver coin as you visibly remove the copper coin. Display the copper, then vanish it, doing the throwing gesture.

With your left thumb and first finger, lift the bill and the stack - leaving the nested coin, copper side up, on the table.

m

Release a coin at a time, until there's a horizontal row of one copper and three silver coins. (See Fig. 3.) And end.

With your right hand, reach for the half dollar at the upper left. Do a vanish - that is, pretend to place it into your left hand.

Open your left hand - or do so as you make a throwing motion toward the folded bill - to show that the coin is gone.

With your left hand, thumb and first finger, grasp the raised part of the bill - and with a slight jerk - pull it off the coin, AWAY from you. With the proper "jerk," the hidden coin will stay in place, on top of the tabled, gimmicked, coin. (See Fig. 2.)

Place the folded bill into your right hand, onto and covering the palmed half dollar.

This, ostensibly, to free your left hand to pick up the two stacked coins, fan them, show them on both sides, and replace them to position - stacked. The gimmick is on bottom.

Afterthoughts: I've given you Mike's basic routine. You'll have to fill in your own patter. You can throw in some lapping if you want to - you can use any coin vanish you like. The point, however, is that this routine can be done standing, impromptu-like, at a bar, or most anyplace else. You can borrow the bill, of course.

At the point where you're going to show and vanish the copper coin, you can leave the three silvers in a row. Bring out the copper, toss it onto the table, and then stack the three silvers, placing the bill on top. Then pick up the copper, vanish it, etc.

Take the folded bill from your right hand with your left hand - taking along the silver coin hidden beneath it. Place the bill onto the two, stacked, half dollars. Be careful of excess clinkine here.

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I don't think it's necessary, but you can also clean up at the end by switching in the real silver and copper for the two gimmicks. I'd prefer to toss the folded bill toward the spectators as I simply pocket the coins.

open and palm down, onto the bill and your palm-down right hand, copper coin still palmed, onto the back of your left hand. Pretend to press downward, make sure the gimmicks nest, then raise your right hand to show the copper on the back of your left hand - it has penetrated upward through coins, bill, and hand. To end, lift the bill, spread the three silvers - the copper is gone.

You can also continue the routine with one more step. Re-stack the coins - shell over the double-sided coin - as you place the folded bill onto them. Place your left hand,

c

LartyrGWest

It's up to you. fine routine.

Either ending - it's a

^Acrobatic Card Extension

This basic effect appeared in TRICKS YOU CAN COUNT ON, by Larry West and Verne Chesbro.

It is based on a Verne Chesbro concept, routine

by Larry. This is Larry's extension of the idea. It's pretty; I've seen its effect on viewers. You have to be able to do an Elmsley Count. I'll leave most of the presentation to you - and there's plenty of room for buildup.

"Now there are two face-up cards in the middle."

Do the Elmsley Count, as you say, "So it would be impossible for all four cards to be face down - like this." The Elmsley will show four face-down cards. The last card goes on top whenever you do the Elmsley in this routine.

Saying that you'll do that again, take the top card (only), turn it face up and place it to the bottom, out jogged, just as before. Turn over the (now) top card, and place it face up on top, injogged - also as before. Use the same patter you used the first time.

Square the cards and turn over the packet.

As you talk, your right thumbtip lifts two cards at the inner end only - as if preparing for a double lift. Pull back the two cards, as one, to expose a face-up card at center, as you say, "Two face-up cards at center." Square the cards and do the Elmsley Count. Again, all are seen to be face down. You can use the same patter line that you did the first time.

Let a spectator select a card, and control it to the top. Say that you'll attempt to cut to his card. Do a false, or double, cut keeping his card on top. Double lift to show an indifferent card. When he tells you that this isn't his card, turn down the lift and place the top card (selection) onto the table.

Show the bottom card as you ask if that's his card. Of course, it isn't. Place it, face down, onto the already tabled card. Say that you'll try again. Really cut the deck, then show the top card; it isn't his. Place it onto the other two cards. Show the bottom card place it onto the three tabled cards. There are now four cards on the table; the bottom card is the selection.

Repeat the last step exactly, except don't do the "proving" this time. That is, don't pull back two cards as one to show a face-up card at center. Again, the cards are seen to be all face down as you do the Elmsley.

Pick up the four-card packet as you place aside the deck. Double lift (easiest way is to spread to show four cards, then square obtaining a momentary left little finger break beneath the two top cards) and turn over the top two cards. Place these, as one, face up to the bottom, outjogging them. Leaving these two (as one) out jogged, turn the top card of the packet face up and place it back on top so that it's injogged. (See Fig. 1.)

With your right hand, take the top card and appear to place it, face down and outjogged, to the bottom. It really goes to second from bottom. Larry uses a left thumbtip pulldown at the outer left corner of the bottom card (face-up selected card). He turns slightly to his left, or moves just his hands to the left, as he does this so that the spectators are looking at the cards from the right. The pull-down is hidden. (See Fig. 2) for your view. You can, of course, use a bottom card buckle; just watch your angles. The card is outjogged at least halfway.

Indicate the face-up cards, as you say, "Two face-up cards, one on top, one on bottom, and two face-down cards in the middle." Square the cards (flush) and turn over the packet.

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Move your hand down until your thumb and second fingertips contact the tabletop. Pause.

Raise hand and cards, repeat the name of the card - and snap the card out of the other cards by letting the cards at your second fingertip snap off that fingertip as your second finger moves to your thumb. This is the same standard "snap" you'd use as you snap over a card. In this case, it propels the selected, protruding, card up and out onto the table. It's pretty; and it will work just about automatically.

(See Fig. 5.)

Take the (now) top card and place it, also face down, to the bottom, also outjogged so that it's flush with the first outjogged card.

What you've done is to sandwich the selection.

Take the packet, as is, with your right thumb and second finger, so that the outjogged cards are DOWNWARD, backs of cards directly facing your audience. Move hand and packet to the table. Your forefingertip should be pressing against the back of the packet so that the sides bend slightly backward. Your thumb and second fingertips are near the bottom of the upper cards. (See Fig. 3.)

Ask for the name of the selected card. As soon as it's named, move your right hand slowly downward (toward the tabletop) applying a bit of pressure with your thumb and second fingertips. This is the "plunger" action. The outer (upper) card will move downward, exposing the selected card - which appears to RISE. (See Fig. 4 )

Afterthoughts: The faces of three cards are seen during the routine - not the face of the selected card, of course. The face-up cards turning face down, using the Elmsley, is good. The rise of the selected card is magical and really the end of the routine. The "snapout" puts the "period" on it.

If you're working "stand up," and no table is available, you can do the "rise" on the palm of your left hand, or on a spectator's palm.

C

7biiz

The forgetful

Qambler

Tom has added a "kicker" that I'll include after I teach the basic routine.

Here's some of the history of this interesting poker demonstration. Dai Vernon showed Barry Govan a riffle shuffle stack of k cards using one shuffle and one cut. He didn't explain the method. Barry, who is editor, with Ian Baxter, of Australia's magic monthly "The Blueprint," worked out his own method and sent it to Tom Gagnon. Tom came up with this routine utilizing the riffle stack.

The routine appeared in the March 197? issue of The Blueprint. I owe Barry, Ian, and Tom my thanks for their permission to use it.

It's the story, combined with the demonstration, that makes this a strong routine.

I'll teach it all together; you'll have to go over it a few times. First, the simple set-up.

Crimp the bottom card of the deck. Place the 10, J, Q, and KS to the bottom - the KS is the bottom card; the crimped card is now 5th from bottom.

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3. After step #2, shuffle normally.

Place the 4 9's on top of the deck; these are followed by 4 indifferent cards (make sure an 8-spot ISN'T one of them), and then the AS. The AS is the 9th card from the top.

4. Your right thumb holds back at least 13 cards as your left thumb releases all but 4 cards.

5- Your right thumb riffles off and holds back ONE card. At this moment, your left thumb is holding back 4 cards; your right thumb is holding back one card.

Patter theme: "Some years ago, an old gambler befriended me and taught me how to cheat at poker. Years later, this same old gambler was in town and I dropped by to see him in action. I was shocked to see that he had fallen prey to four young card sharps. I saw that my old friend was losing. Toward the end of the evening, I caught him secretly placing three eights on top and the fourth eight on bottom. "

6.

Finish the shuffle by releasing (riffling) the left-hand cards (4) UNDER the single right-hand card.

Square the deck and cut at the crimp (which will be near the bottom of the deck) bringing it to the bottom of the deck.

The action to fit the last part of this patter (you'll have to work it out so that the action, throughout, matches the patter) is as follows.

Spread the cards, faces toward you, looking for the 8's. Step them up as you come to them. Leaving them outjogged, square the deck and flip it face up. Strip out the 8's and toss them face up to the table. This is all done openly; you're demonstrating your story.

Turn the deck face down in your left hand.

Place the 8's face up on top. Spread to show them, but spread some extra cards. As you square, obtain a momentary left little finger break beneath EIGHT cards - the four 8's and the four face-down cards under them.

Do the Braue Secret Add-On, like this: Take the 8-card block from above with your right hand. Your left thumb slides the face 8spot onto the deck. Flip it face down with the right-hand packet. Immediately drop the packet onto this eight and spread off the top 3 faceup 8's. Flip them face down and take the top one, show it, and openly place it to the bottom.

"My old friend dealt out the five poker hands, dealing himself the four eights." Deal the hands; 5"th hand is yours. As you deal the last (5th) card to yourself, hold that card, momentarily, in your right hand. This (5th) card is the AS, and it should be held face down so as not to expose it.

"When cards were called for (the draw), the old gambler 'stood pat,' and when the bet came to him, he pushed all his money into the pot. It was obvious that my friend was becoming forgetful. He forced all the other players to 'fold' because of his standing pat and his large bet - and one of the basic rules of poker is NOT to force out the other players. Of course, he did have the four eights (use the right-hand card as a scoop to turn over your hand, showing the four_8's, as you say this), so he slowly gathered in the small pot."

Again,"using the face-down AS as a scoop, flip the four 8's face down. Scoop them up the AS goes beneath them - and place all 5 cards to the top of the deck. Pick up the remaining four hands, first onto 2nd, these onto 3rd, all onto 4th - dropping all onto the top of deck.

"The old gambler gave the deck one slow and deliberate riffle shuffle, and one cut."

You can do one false cut before the riffle shuffle, if you like. If you do, include it in your patter.

"Once again, the deal came around to my friend, and I could see he was up to his old tricks. He was going to deal himself the four eights again - but, at the same time, setting up one of the young card sharps with four sixes. He was trying to overcome his first mistake, and fatten the pot.

"I was shocked. I knew that if he dealt himself the four eights again he would surely be accused of cheating. He gave the deck a riffle shuffle, and a cut - as a worried look came over his face. I guessed he had just realized his mistake."

The riffle shuffle: Place the deck on the table, riffle shuffle position, so that the crimp is toward you. With your right hand, cut the top half of the deck to your right. Start the shuffle.

1. Release exactly 4 cards with your right thumb from the bottom of the right-hand half.

2. Release AT LEAST 5 cards with your left thumb. (See Fig. 1.)

To match this patter, do one Zarrow Shuffle (or pull through), keeping the entire deck in order. (You could do a jog shuffle here, but that won't match the riffle shuffle you did prior to the first deal.) Then, one false cut.

Deal out the 5 poker hands.

"The young gambler who was to get the four sixes opened with a large bet. I figured he had the sixes and was ready to clean out the old-timer. My friend pushed all his money into the pot, raising the young gambler's bet. The young man called the bet.

"As he did, he smiled and softly said that he was familiar with that me'thod of stacking the eights and sixes in order to keep one's opponent in the game. But - the old-timer had forgotten that NINES look like sixes when doing a rapid stack, and that he'd been dealt the four nines by mistake. And - four nines beat four eights in any man's poker game!"

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Reach over to the SECOND hand and pick up its top card. Using that as a scoop (don't flash it; it's an 8-spot, and it's best not to show it), turn the remaining 4 cards face up exposing the 4 9's. Place the "scooping" card onto the deck.

"The old-timer smiled right back at the young gambler. 'You're right, of course,' he said, 'but I thought you may have forgotten what a royal flush looks like. Let me refresh your memory.1 The old-timer turned over his hand, and - sure enough, he had a royal flush, in spades!"

Turn over your hand, showing the flush to end.

When your left hand reaches to the table position of the 2nd hand, the blue-backed 9's are released onto the table. (See Fig. 3.) In a continuing movement, your left hand turns palm down to conceal the 9C at the face of the deck. This is an extremely clean switch of the blue 9's for the red 9's.

The following "kicker" uses Mario's "Visual Retention Change" (pg. 239, Hierophant #56).

I'll include a brief description when I come to it.

Use (say) a red-backed deck. Set up as before, except that the 4 9's are in, say, CHSD order - the 9C is the top card of the deck.

Near bottom, directly above the crimped card, place 4 BLUE-backed 9's, also in CHSD order, but from face to rear. Space the 4 8's pretty close together near center. You're set.

Start just as before, except that you can tilt the face of the cards downward. Start the spread with a block push-off, covering the bottom set-up of high spades and (blue-backed) 9s.

Continue as described until you flip over the 4 9's in the 2nd hand. The only difference is during the stacking riffle shuffle for the first dealing round. Where, as described before, your left thumb releases at least 5 cards (step #2), for this, you release at least 10 or 11 cards. You have to release past the bluebacked 9's. The shuffle, incidentally, can be done pretty slowly - fitting the patter story.

During the shuffle, your hands are cupped over the deck, hiding the blue 9's.

All right; you've flipped over the 4 9's in the 2nd hand - the scooping card is placed onto the deck. As you talk, you have to get rid of the bottom (crimped) card. Double cut it to the top. This leaves the 4 blue-backed 9's at the bottom.

Tilt the face of the deck toward yourself (with your right hand; re-grasp with your left hand) as, with your right thumbtip, you quickly thumb count the 4 face cards in order to get a left little finger break beneath them.

Pick up the tabled 9's and tap them against your (old-timer's) face-down hand as you talk - this squares the 4 9's. Place the packet into position for Mario's Visual Retention Change. Your left hand should tilt the deck downward as you do this, so that the 9C at the deck's face is covered.

The change (or switch) is done with your left hand as you reach for the old-timer's poker hand with your right hand. Quick description: The red-backed 9-packet is placed onto the face of the deck - but almost into the fork of your left thumb, as in (Fig. 2 ) . Note that your little fingertip maintains the separation between the blue-backed nines and the rest of the deck.

To your audience, nothing has changed; the four switched-in 9's are in the same order as the original 9's. And - the switch is done as you turn up the old-timer's hand. Attention, therefore, is AWAY from the face-up 9's then.

To end, you can say, "The old gambler slowly smiled at the young gambler, as he said, 'It seems as if you BLUE it, young man!'" Put the period on it by turning up the tabled four 9's to show the blue backs.

Afterthoughts: The routine, with or without the kicker, is nowhere as long as the explanation. The riffle shuffle stack must be practiced, of course.

The only little "bit" I've added to the presentation is that when I'm talking about the old gambler setting the 8's and 6's, I flip the deck face up and spread, indicating one or two 6's as I come to them. I don't bother removing them at all. I find this not only fits the story, but makes the appearance of the 9's in the second hand stronger.

After a few tries, your patter and actions will coalesce to form a pretty strong (interesting and entertaining) gambling demonstration.

PUBLISHED, WRITTEN, EDITED:

ART DIRECTOR:

3Carry JOorayne 174

ŠB/7Z Steinacfer

Ryan s

^Bill Tear

A few of us were sitting around a restaurant table when Jim Ryan approached and borrowed a $20 bill from Del Cartier. Jim folded the bill once, twice, and once more - into eighths.

Then; he tore it into pieces.

This takes no time, and now you're "clean" and holding only the borrowed bill, so far as your spectators are concerned. The fingers of both hands are open and casual. Fold the bill in half by folding the right half away from you, to the left. Then fold it the same way, once more. This keeps the fake at the rear, and outside. (See Fig. 3.) Then fold the top half (of the quarter bill) down, and also away from you. You're left with a packet of two

I really thought he'd torn the bill - I thought it was just a gag. But, after a while, he produced the $20 bill, still folded into a small square, and gave it back to Del. He'd "caught" me with a switch} and it was beautiful. Jim and Johnny Paul have both been known for their bill tears. Jim told me that Johnny uses a similar kind of action, but a bit different.

Anyway, here's Jim's method. He uses a "play money" bill. It looks awful, but it does not seem to matter - the illusion is so good.

Fold the fake bill into eighths; that's once in half end to end; once more in half, same direction, then once in half the other way. This folded fake is lightly finger palmed in your left hand.

When ready to perform, borrow a $20 bill.

Of course, you can do it with any bill. Jim always asks for a twenty.

Show both sides of the bill, then hold it lengthwise between the fingers of both hands.

If the hidden bill is showing green, then the borrowed bill should be green side toward you.

Just remember - green to green, black to black.

folded bills. The real one in front of the fake - facing your audience.

You can let go with one hand now, displaying the folded bill for a moment. Then regrasp with both hands.

As soon as you grasp the bill between both hands, your left thumb moves onto the left side of the fake and your left fingers relax. This clears the right side of the packet. Slip the left end of the borrowed bill under the fake's right side (See Fig. 1 ) , then slide the fake to the right with your left thumbtip. Slide it so that it's flush with the open bill's lower left corner. (See Fig. 2.)

Here's the part that I believe makes this a fooler. Everything has been, and is, aboveboard. Your hands are "clean." Move your thumbtips (behind) and forefingertips (in the front) to the upper center of the packet, in the normal pre-tearing action.

Actually start to tear the folded bill(s) in half. That is, start the tearing action but don't tear. (See Fig. 4.)

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Now comes the vital move. It's simple, but not easy to describe. Jim does it during a SLIGHT and instant down-then-up movement of hands and packet. It's sort of a "windup" just before tearing. As you move down, your right forefingertip moves to the upper right corner of the outer (real) bill and pushes the right half of that bill over to the left. (See Fig. 5.) Your left fingers move onto it, holding it folded in front and at the left side of the fake.

diately necessary. It's hidden behind your left fingers. Just continue tearing the fake bill into pieces.

This, again, is instant and happens during the short downward movement. At least, it begins then. It can finish as you move back up again. Remember, the movement is only about an inch or so down, then up again.

Jim tosses the pieces over his head - and it's done. You can produce the real bill from wherever you like.

Afterthoughts: The real bill is in full view until the split second of the actual tearing. I can't tell you how good this looks in Jim's hands. Practice the pre-tear, then foldover, actions. The fold-over must be instant, with no hesitation. That's the key.

As you come up, start tearing - tear the fake in half. (See Fig. 6) for a bird's eye, performer's, view. As you tear, your left fingers draw back the hidden, real, bill. You can move it into finger palm, but that isn't imme-

Along Only six cards are used. Any three face down and (say) the two black queens and the QH. Keep the QH between the black queens, so that that's the one that will show twice rather than one of the black queens. Turn the queens face up and place them beneath the top two face-down cards. So - the face-up queens are 3rd, ^th, and 5th from the top of the six-card packet.

This is definitely a stunner if it's done once and then the cards put away. The main sleight is the Elmsley Count. Actually there are two separate routines here. All the magicians for whom I've performed them liked the second routine better. Ron has many variations of the idea. I'll teach these two just as he showed them to me; then, as usual, some of my thoughts on them. You decide which you'd rather perform - after you've learned them both.

To perform: Hold the packet face down.

Do an Elmsley Count, showing four face-down cards. The last card goes on top. As you patter about the cards being face down, get a left little finger break above the bottom TWO cards.

(See Afterthoughts.)

The effect of this first quickie is that four face-down cards instantly and magically turn face up. When Ron originally did it for me he used ยงiny three face-down cards and three face-up QH's. To keep this strictly impromptu, I use the QC, QH, and QS. The problem with that is that one queen will show twice, as you will see. I don't consider it a problem. You will have to decide which cards to use. In any case, it's the routine after this that I think you'll prefer. This will teach the basics.

Snap your right fingers and then spreadpush one card at a time from left into right hand. Spread off two cards this way, taking one under the other. Without pausing, take the next two cards as one. That's the reason for the break. The three (?) cards are held in fan condition. The last card, really two face-up

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But now - square the packet and flip it face down. A red back will show. As you say, "These are red-backed cards..." openly place the top card to the bottom. This is done ostensibly to show another red back. What it also does is properly set you for an Elmsley Count. "All of them..." Do the Elmsley Count.

Four red backs show.

Get your break above the bottom two cards.

"But, as you can see, this has a blue back."

Pick up the tabled 7H with your right hand, turn it over to show its back. Tap the packet with it. Replace it, back up, to the table.

"Once I do that (tap, that is), one of these changes to blue." Show this by doing the same spread-push into your right hand, as explained.

queens as one, is brought onto the other three.

(See Fig. 1.) One card has magically turned face up.

"When one card turns blue, the others always follow along." Do the Elmsley Count to show four blue backs - and to end. Place the packet into your pocket.

Afterthoughts: For the second routine, you can use three different 3's and three different 7's, if you like. One of each will show twice, of course. Work on it.

Square the cards. "If one card turns face up, the others always follow along." Snap your fingers, and do another Elmsley Count, just as before - to show four face-up queens. Drop the packet, as is, onto the face-down deck, and flip the three face-up queens face down in a block - to end.

I'll give you something else to work on.

Use six double-faced cards. The routine would be the same, except that one four-of-a-kind (duplicates or otherwise) would change to another four-of-a-kind. Then, after a couple of cards-through-hand flourishes (turning the packet over the last time), they'd change to another four-of-a-kind and, finally, they'd change again. You wouldn't use the tabled card for this unless you can think of a way to do it - to show three different faces. (The Curry Turnover Change might be worked in.)

I expect to receive many variations of Ron's basic concept.

If you're using three LIKE cards as the face-up cards, as in Ron's original version, you may prefer to pocket the packet at the end.

Think about this quick effect for a moment and you'll realize that, done cleanly, it can be a stunner.

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Now, here's the routine I like better than the first. I guess you could call it a "wild card" routine. It, too, uses only six cards in the packet. But - four face-up cards change to four other face-up cards; then four red-backed cards change to four blue-backed cards. Again, Ron originally showed it to me using duplicate cards. I'll describe it that way.

I use a double buckle to obtain the break above the bottom two cards. You may prefer a right-thumb riffle-up at the rear. If either of these methods bugs you, you can utilize a short card to enable you to get that break.

For the first effect, the center face-up queen should be the short card. Then it falls second from bottom after the first Elmsley.

For the second routine, you'd also start with the center 7H being the short card. It will fall second from bottom after the first Elmsley. When you do the second count to show four 7H's, finish the count - then, as if showing some sevens again, push the top (face) 7H into your right hand, Then push off one more with your left thumb, Replace the right-hand seven to beneath that. That is, to second from top (face).

(See Fig. 2.)

You'll need (say) four blue-backed 7H's and three red-backed 3S's. One blue-backed 7H is lying face up on the table. The remaining six cards are face up. The three 7H's are placed between the bottom two 3S's, so that they're positioned the same way the face-up queens were in the first effect - 3rd, 4th, and 5th from the top of the face-up packet.

To perform: Do an Elmsley Count to show four 3S's. The last card goes on top. Continue just as in the first effect. That is, get a break above the bottom two cards. But - pause here to pick up the tabled 7H with your right hand. Tap the packet with the 7H. "When I do this, one three changes to a seven."

Fitting actions to words, drop the 7H back to the table without flashing its back. And, spread-push the cards into your right hand, as described. You're showing three 3S's and one 7H. The 7H (two as one) is placed onto the 3S's of course.

"If one three of spades changes to a seven of hearts, the others always follow along." Do the Elmsley Count to show four 7H's.

Up to here, you've really done exactly as in the first effect, except that this is a stunning CHANGE rather than face-down cards turning face up. And, of course, there's the addition of the extra, tabled, card.

Now, continue as I've explained. After you do the Elmsley Count to show four red backs the short card will, again, be second from bottom to help you obtain that break.

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r/e Stiles "S and I" stands for "streamlined and improved." Kirk originally contributed a similar routine to Bobo's coin book. This is a much improved method. It has a "bounce" change move at the end that I love. This was not in the original. Most important, I believe, is that more magicians will actually perform this version than the original version. You'll need an Okito Box, one English penny, and two half dollars. One half dollar and the English penny are in the Okito Box; the duplicate half dollar is on your left thigh. You are, obviously, seated at a table opposite your spectators.

As I said, this is fairly standard by now.

I, personally, don't bother tipping over the box with my right forefinger. I simply turn my right hand over (and onto my left hand) smartly, depositing the lid at the same time. Use either of the above, or your own method.

With your hands near the tabletop, use your right hand to slide the box, and coin, onto the table. The coin is actually on the table, hidden by the box. Lean back, naturally placing your hands into your lap.

"I'll expose the box to a little hot air."

As you talk, your left hand slides the box off the table edge (the coin falls into your hand) and up toward your mouth. Blow on the box (keeping the bottom toward you, of course). "...Magicians have plenty!"

Pour out the two coins, displaying them on the table. Put the copper coin back into the box and put on the lid. Suddenly, slap your left hand over the silver coin. "Did you see what I did?" Pick up the box with your right hand. "Which coin is in the box, copper or silver?" The answer will probably be correct, but open the box to show the copper coin, in any case. Cover the box again. "Did you notice whether the copper coin was head side up, or tail side up?"

Place the box back onto the table; your left hand, with the palmed copper coin, rests near it. Slap your right hand onto the box.

"Oops; I think I hit it too hard. I may have driven the coin right out of the box..." Lift the box with your right hand, "...and through the table."

The answer will probably be "no." But again, it doesn't matter. This is only to give you a reason to uncover the box again - and to do the Okito Box Turn-Around Move as you recover it. This is a pretty standard move by now. Quick description:

Your left hand goes beneath the tabletop, lightly scratches the coin against the underside, and then brings it into view. Toss it onto the table. Your right hand still holds the box. Let its bottom fall out of the lid onto your open left hand. Your right second fingertip contacts the bottom as it falls out.

This causes the bottom to turn as it falls. It lands on your left hand right-side up. It's empty, of course. Put the box, the lid, and the English penny, back onto the table, near the half dollar.

When you uncover, lift the box and do it all in your right hand. Lift the lid with your thumb and forefinger, as in (Figs. 1 and 2.)

Let your spectators see the coin inside. Now, put the box onto your left fingers and replace the lid at the same time. As you arc your right hand to place the box onto your open left hand, your right forefinger (or second finger) catches the box near its bottom and tips it over onto your left hand - the lid is placed onto its bottom AS the box lands on your hand.

Openly put the English penny back into the box, and cover it. Again, suddenly, pick up the box with your right hand and slap it down on the half dollar. "We're using two coins.

Only one is in the box. Do you know which one it is?" The answer should be "copper." Say that you'll assure them of this. Pick up the box with your left hand and place it into your right hand. Turn over (openly) the box as your right hand places it onto the table, a bit to your right. Pause. Pick up the box only (exposing the copper coin in the tabled lid) and place it into your left hand. Put it, rightside up, onto the table, front and center. This handling is simply to show your hands empty, and to keep the box in front of you, and the lid and coin to the side.

Lower your left hand to your lap and finger palm the duplicate half dollar as your right hand takes the English penny out of the lid. As your right hand takes the penny, your left hand moves from your lap to above the table. Place the penny between your left thumb and forefingertips. Both coins are in your left hand; the copper being displayed while the silver is finger palmed.

Remember - if you Xerox this magazine, you lessen its worth to YOU!

178

With your right hand, pick up the box and hold it under your left hand. (See Fig. 3-) With your left thumb, slide the copper coin down and out of sight. The moment it's out of sight (be careful of clinking here), release the palmed silver coin so that it falls into the box. The copper coin moves easily into left-hand finger palm. With a minimum of practice on timing, this is an imperceptible change of coins; sight and sound blend to make it so.

Smartly toss the half dollar ONTO THE BOX, so that it hits flatly - and BOUNCES into your waiting left hand, into finger-palm position!

(See Fig. k.) This will take a few tries, to get it working properly. I find that if I toss ALMOST straight down, at a SLIGHT angle, the coin bounces just right for me. Also I, personally, have been having more success if I hold the coin naturally in my right fingers, and bounce it off an EDGE. Try both ways.

Take the box with your left hand as your right hand reaches for the lid - cover the box, leaving it in your left hand. Place it to the table, in front of you. Still using your left hand (with the palmed copper coin), pick up the visible half dollar, display it for a moment, and toss it away from you toward the center of the table, saying, "The silver coin."

Tap the top of the box with your left forefingertip. "And, in here (pick up the box with your right hand and give it a shake or two), the copper coin." As you do this, look directly at a spectator, then back to the shaking box - this gives you the time and misdirection to transfer the left-hand finger-palmed copper coin into a classic palm.

Put the box back onto the table. With your left hand, slightly adjust the box's position - just to make everything look natural; and to make your left hand appear to be empty.

Pick up the silver coin with your right hand; hold it at its edges between your thumb and middle fingertips. Place your naturally open left hand between the box and your spectators - fairly close to the box. The back of your hand is toward them; your left little finger is about half an inch above the tabletop.

As you catch the coin in left-hand finger palm, immediately release the classic-palmed English penny, letting it fall to the table.

It looks quite magical. "Knocked it right out of the box!"

With your right hand, remove the lid and place it into your left hand, opening up (don't expose the left-hand finger-palmed coin) - so that it's seen to be empty. Your right hand now lifts the box and turns it over slowly, allowing the half dollar to fall to the table. As your right hand reaches for the box, your left hand casually moves to the table edge. As the silver coin falls to the table, the duplicate is dropped to your lap. You're clean.

Afterthoughts: Long description, quick routine. Give it some practice, and you'll use it. It can be used by itself, or it can fit into most any other Okito Box routine.

NEXT MONTH Ted Biet plays with his "pressure"...

Les Scheyer plays dice... so does Harry Lorayne...

Alan Slaight plays Black Jack...

Bob Fitch plays with a coin...

Tom Ransom plays with the Charlier Pass,

A LORAYNE STORM I hate the slip-cut force. You know, the one where you riffle down, are stopped, then slip the top card to the lower half as you point to the face card of the upper half and say, "We won't use this one because I can see it," etc.

I wonder how many do the exact same actions to REALLY give a spectator a free choice prior to the time when they want to force a card that way?

I've never seen it. A magician will have a card selected (a few times during his performance) via a hand-to-hand spread when he's not forcing. Then, when he has to force a card, he does the slip-cut force.

—

If the same actions were used before - maybe I wouldn't hate it so much!

179 =

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Ellipses (...)

Saw some old friends, friends I haven't seen in years, at Tannen's Jubilee... among others, Ed Balducci and Bill Simon...nice to see them. Orson Welles promised to send an article or effect for Apocalypse when he finds the time...love to run it.

Did a lecture and close-up for the M & M Magic Emporium Convention in Atlanta, Ga. Jim Maney a congenial host, the conventioneers a lovely bunch of people. Spent some time with Tom Craven, Woody Landers, Russ Burns, Doty - nice people and good magicians. You'll be seeing some of their magic here in the future.

If you're anywhere near Atlanta, you HAVE to visit the Tom Foolery Magic Bar at 3166 Peachtree Road. Watching Tom Mullica (the owner) work (continuous, from 8PM to midnight or 1AM) is an EDUCATION. He'll fool you - I mean FOOL you - and have you laughing all night. He's an Entertainer. He works behind a 53-foot long bar; there's standing room behind the bar stools where people can stand and drink (only drinks are served) and watch, then there's a raised level with a row of comfortable old theater seats. It's a little "theater bar." (J. C.) Doty built most of it and made the outside neon light sign.

You might call first (404, 231-8666); mention my name or say you're a magician - or both... or, don't bother to call, just go. The place is dark on Sundays. Among countless other routines, and vanishing mouthfuls of paper napkins (he did it twice the night I was there - I have no idea how he does it), and some vent (people come in and ask to see "Dukey," his figure) - Tom does the best, CHOREOGRAPHED, egg-bag routine these jaded eyes have ever seen. He also does a bill in cigarette, plus cigarette and smoke effects that will blow your mind.

He impressed me no end - I dig professionalism! A couple of Tom Mullica's routines will be appearing in Apocalypse. Watch for them.

Ed Strauss, a subscriber from Indiana, LOVED Slydini's Linking Pin routine in No. 10, Volume 1. The way he presents it...let's pins be examined first, then does the "repelling" bit where one pin causes the other to snap to the floor. As he picks up that pin, he switches the one he's holding for the gimmicked pin. That way... audience is not wondering if they're gimmicked all through the routine, instead of paying attention to what you're doing. Good thinking!

If you bump into Sol Stone of New York, ask him about some of his World War II experiences; how he and his crew were shot down behind enemy lines...and magic helped him obtain food, shelter...helped him, and his crew, to stay alive... fascinating. Some dealers are advertising the "famous 'cut and restored' hanky or silk"...as performed by Doug Henning on TV...for $3.50... it is well worth it. However, what Doug did on TV was Phoa's effect EXACTLY as I taught it in Tarbell #?!

Hey, it's time you were aware of the fact that my book, RIM SHOTS, is gaffed...the 21st word from the beginning of EVERY effeet...also the Foreword and Last Word...is the same...the word is "that"! There's a four-ace revelation explained in that book which can be used to force four cards that total 21...he counts, concentrates...you read his mind. QUANTUM LEAPS is finished... be out soon...I really believe this is the best of my books...could be the last...of my own material. Look for it...my full linking-card routine is included - with a couple of marvelous touches that I DIDN'T show around! Also...a way to do a perfect faro WITHOUT doing a faro shuffle!

Plus...over FIFTY more items...over 200 great illustrations. I don't know about you... but I can't wait!

^//foffl/fflM/H

^ / ^

I'll send you - free - a copy of either my THE GREAT

DIVIDE or my THE EPITOME LOCATION if you subscribe now, before the next issue of APOCALYPSE is mailed. If you're already a subscriber, you can still take advantage of this free offer. Talk a friend into subscribing! So, here's the deal...send me your $30.00 subscription fee...be sure to say which issue you want to start with...and tell me which you'd like, THE GREAT DIVIDE or THE EPITOME LOCATION. (Autographed on request only.) If you talk a friend into subscribing (and it shouldn't take much talking into), I'll send him one of the items and I'll send you one, TOO. He'll have to mention your name (and address) and tell me which item he wants and which to send you.

(If you already have both items offered, you can have any two back issues of Apocalypse instead.)

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—

^Harryr ^orayne 's VOL.2 N0.4

THREE DOLLARS

APRIL, 1979

ocafypse ŠCOPYRIGHT by H.LORAYNE,INC.

ISSUE NO 16

PRESSURE LOCATION

Ted's version makes use of his own handling, a move/subtlety which eliminates that necessity. Now, there's no need for you to take the deck out of spectator view, so read on and you may add a very strong mental card experiment to your repertoire. In Ted's words, basically...

Some twenty years ago this card effect won a prize for Ted at a Dutch magic convention.

He tells me that the effect has given him great satisfaction ever since, especially when performing for magicians who are completely fooled by the strong effect. Years later, he was told that the basic idea came from Alex Elmsley; he has, however, never seen it in print and can't recall how he came to use it so many years ago.

(I did have an Elmsley effect, based on a move which, I suppose, was the forerunner of this concept, way back in CLOSE-UP CARD MAGIC. It is called Fan Prediction #1.)

Ordinarily, during effects of this type, the performer, at one point, had to take the deck behind his back or under the table. Very likely, the effect never became popular because of this drawback.

EFFECT: Hand a deck to a spectator and ask him to shuffle it (he can use his own deck if he wishes). Ask him to select ten cards, ANY ten cards, and to hand their, to you. Fan these cards (no switch) faces toward spectator and ask him to make a mental selection of one card from those he sees. Next, "weave" the ten cards into the rest of the deck. Then, ask for the name cf the thought-of card. Pressure

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Don't put it flush; place it diagonally jogged, leaving the index visible. (See Fig. 3-)

far: the deck and one card is seen to be reversed. Take it out and show it; it is the correct cs.rd which no one but the one spectator could pcssibly have known. Not a single question is asked or any information given throughout the entire routine.

HERE'S HOW: The ability to make a neat pressure fan is absolutely vital to the performance of the effect. There's something else you must master; that is, how to "weave" (faro) a small packet (in this case, ten cards) into the rest of the deck.

(See Fig. 1.) It's easy. Don't let the word "weave" mislead you, as the cards from both portions do not need to alternate exactly.

As long as NO TWO CARDS of the small packet fall together between two cards of the deck proper, you're all right. It does NOT matter if two, or more, cards from the deck fall side by side between two cards of the small packet.

So, the only thing you have to make sure of is

At the conclusion of this handling, which takes a split second, the top and bottom cards are face up and all the cards between them are face down. Square the cards AS you turn the packet "face down," in order to hide their condition. In the routine, this handling is completely and naturally covered.

ROUTINE: Ask a spectator to shuffle the deck. Invite him to remove any ten cards and hand them to you. Place the rest of the deck nearby, within easy reach. Fan the ten cards faces toward spectator and ask him to memorize one card, any one card, but NOT the first one and NOT the last one.

Point to the first and last cards as you mention them to make sure that he chooses one from the center eight cards. Stress that he has a perfectly free choice and that he must not forget his card. Close the fan, and say, "You have memorized one card out of a number of cards you yourself chose from a deck you shuffled. I could not know which cards you would take nor can I know which card you have thought of. You have had the fairest opportunity to think of one card out of this packet.

I have only asked you NOT to think of the FIRST one (turn the top card face up as described) and NOT the LAST one (continue the handling as described)."

that EACH card of the SMALL packet is SEPARATED from its neighbor by one or more cards from the deck proper. (See Fig. 2.)

,WRONG'

And, here's my original handling which takes away any suspicion that you are "doing something." (HL: As you'll see during the routine.) Take ten cards and hold them, face down, in your left hand. With your left thumb, push off the top card. Flip it over with your right hand so that it is face up and square it on top of the packet. Next, push off, with your left thumb, ALL the cards, except the BOTTOM card, to the right and take them with your right hand; fingers oh top and thumb beneath.

Turn your right hand clockwise a quarter turn so that the packet is upright with the top card facing the audience. Simultaneously, the left hand, with the one face-down card, turns counter clockwise a quarter turn, so that the face of that card is also turned toward the audience Place this card BEHIND the right-hand packet.

The moves you've just executed, as explained before, have been covered by your patter.

Make that patter match each action perfectly, and you'll find that even magicians will not suspect any trickery. Turn the packet "face down;" take the rest of the deck, also face down, and weave them into each other. Do NOT press the small packet home squarely into the deck, but do so slightly diagonally so that the left outer corner of the small packet remains protruding from the deck. (See Fig. k.)

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jog, and the fan - so that no backs show at the front. Finally, it's important to work out your handling for the end - the moving to the right of the named card without exposing any of the other (seven) reversed cards. The easiest way, for me, is to do it with my right thumb and first and second fingers at the top edge of the fan.

The upper left jog is easily hidden by your right hand, as in (Fig. 5) which also illustrates the short interval and position AFTER pressing the small packet into the deck and BEFORE making the pressure fan. During this short pause, explain that a very peculiar thing will take place, namely that the thought-of card will reveal itself by turning around in the deck.

Of course, you're left with seven face-up cards in the face-down deck. Unless you're working with your own deck, and this is your last effect, you'd better work out a way to clean up. I'll tell you what I usually do it's quite obvious, I think. I cut the deck beneath the lowermost face-up card (the natural break makes it easy). This brings all of them closer to the bottom. I glimpse and force the top card (or the bottom card). As I say, "You could have taken any of these," I do a quick hand-to-hand spread, faces of cards toward audience.

Ask for the name of the card and make the pressure fan, upright and faces toward your audience. You will notice an extremely subtle phenomenon; from the back of the fan the indexes of eight cards will be staring you in the face! They are, of course, the eight cards the spectator chose from. At the front of the fan, facing the audience, there is no irregularity at all. The cards protruding at the rear are completely hidden from view.

My left fingers cover the front of the left end of the spread to make sure no backs are exposed. I look for the first (uppermost) face-up card and keep a break above it as I square. I place the deck behind my back or under the table and say that I'm going to arrange the cards in a secret way - and this will help me find his card. As soon as the deck is out of sight, my left hand takes the cards below the break and in a turning down-then-up action, I straighten all the face-up cards. If you turn, then deal (from top of left-hand cards to bottom of right-hand cards) the first card, then turn, etc., the count (each turn) is 15. Then all the cards are straight.

While pretending to search through the fan and mumbling, "Now where is that reversed card" push the named card to the right so that its back shows from the front; pause - then remove it from the fan and show. Be careful that only the back of the one card becomes visible from the front; if you aren't, and other backs show, you'll ruin the effect.

Bring the deck into view, let your spectator replace his card, and let him shuffle.

Find his card any way you like. The point is, the deck has been "cleaned" without suspicion.

Now you see why it is so important that each card from the small packet MUST be separated from its neighbor by at least one card from the rest of the deck. Please practice thoroughly before you perform; the strong effect deserves it.

I'll tell you another way in which I've cleaned up. I cut the face-up cards to near bottom, as I've explained. I hold the deck from above, in my right hand. Then, if I'm sitting at a table, I let my right fingers, and deck, hit the table edge - and I DROP a bit less than half the deck! The cards usually hit my knee and scatter to the floor. That's all.

With an "oops" I simply pick them up. Usually a couple of spectators help me, or do it for me - which I love; THEY straighten the cards for me! The face up-face down condition of the dropped cards is NATURAL - "after the fall."

Afterthoughts (HL): Obviously, practice is called for. There are four areas for that practice. Ted's method of "preparing" the small packet in full view of the audience; that shouldn't take you more than a couple of tries.

More practice is required for both the "squaring" of the small packet into the deck proper, and the pressure fan. You'll have to experiment with the size of the diagonal small-packet

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A Dice Interlude It's also strong enough to stand alone. Even if you follow my instructions carefully, you're going to goof the first time (or two) you try it. Stay with it - it's worth it.

What a pretty piece of business this is!

Les tells me that he devised the routine a long time ago; it's too bad he kept it to himself that long. I'm including it here because it's GOOD, and also because it reminds me of another one-die quickie that I've been using for more years than I care to remember, and which I believe Kirk Stiles had in print. First, Les's routine.

Pick up a die, and say, "You do know that this is a magical die, don't you? Well, it is.

All the numbers are opposite the next higher number. Look; the ONE is opposite the TWO... the two is opposite the THREE... the three is opposite the FOUR... the four is opposite the FIVE... and the five is opposite the SIX!"

He uses it as an "Oh, by the way" sort of thing during a routine using one or more dice.

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You're in exact position to do the almoststandard "paddle-like" die move. As you do the outward (clockwise) half turn - apparently to show the opposite side of the 2-spot - your thumb and forefinger rotate clockwise (same direction as your hand is moving) one extra turn.

The 3-spot will show. (See Fig. 3.) The principle here, as you know, is that of the larger turn covering the smaller one.

That's the entire patter line - and the entire routine is done during, and accompanying, it. Naturally, the moves - the showing of the appropriate numbers - must match the patter.

The die is held between your right thumbtip and forefingertip, the one-spot toward the audience. Your thumbtip is on the 4-spot, which is UPPERMOST; the 5-spot faces the forkof-your-thumb area. Your forefingertip is on the 3. You are turned slightly to your right so that your left side is toward your audience.

(See Fig. 1.) Note the position of the second finger - that's important.

Here comes the easiest move in the routine!

The 4 is, of course, really opposite the 3, so simply do a legitimate inward (counter-clockwise) half turn. The 4-spot faces the audience.

(See Fig. 4.)

At this moment your thumbtip is on the 5spot; the surface you next have to display.

This will probably be the most difficult of the moves to describe - if you're still with me!

It is, however, quite simple to do.

As you mention, and show, each number your hand turns (one half turn) inward (counter clockwise) then outward (clockwise) then inward, outward - alternating as each number is shown.

This first move, showing that the 2-spot is opposite the 1-spot, is the most difficult to describe. It's easy to do, however, as all the moves are.

Your thumb and forefingertips maintain contact with the k and 3 surfaces as the die swivels - and, for this first move it swivels very little. If you did a legitimate inward half turn the 6, of course, would show; but the 2 would be facing outward, away from you - as it does at the start.

The knuckle of your second finger is resting at the lower, inner, corner of the die. AS you do the inward half turn, straighten your second finger, pushing on that inner, lower, corner. This automatically rotates the die one-quarter turn as you do the counter-clockwise half turn. The 2-spot will face your audience now, apparently opposite the 1-spot. The side of your second fingertip ends up resting on the rear side - the 5-spot. (See Fig. 2.)

Your thumb and forefingertips never lose contact with their {k and 3) surfaces.

You have to do the half turn outward clockwise. Again, this (larger) turn will cover the smaller turn. The problem is that the smaller turn is in the OPPOSITE direction to the larger one. Your hand turns outward but as it does, your thumb and forefinger rotate the die one turn INWARD, counter-clockwise, Again, the larger move covers the smaller one, as just mentioned. What happens is - your thumbtip rolls off (upward) the 5-spot and onto and covering the 4-spot, as the 5 appears facing your audience. (See Fig. 5) to see exact position now. (It might help you to think of it like this: The die remains ALMOST stationary as your thumb and forefingertips move clockwise around it.)

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The final move, to show the 6-spot, is really the opposite of the very first move.

Look at figure 1 again. You're in about the same position (showing the 5~sPot) except for your second finger. Now, instead of being bent and at the inner lower corner it is straight along the bottom of the die, next to your forefinger. It's tip is near the OUTER lower corner. Just compare figures 1 and 5- At this moment, incidentally, the 6-spot faces the fork of your thumb.

All right; do the inward (counter-clockwise) half turn. AS you do, bend your second finger; it's tip catches the outer, lower, corner and rotates it (inward) a quarter turn.

Your thumb and forefingertips remain on their respective surfaces {k and 3) - the die simply pivots, or swivels, between those two fingertips. The 6-spot is displayed; the side of your second fingertip ends up on the rear surface - the 1-spot. (See Fig. 6.)

Throw the die onto the table for examination.

Afterthoughts: I could do the entire routine probably 50 times in the time it would take you to read this. Once you've tried it a few times, gotten familiar with it, it flows one turn into the other. It's quick and effective; something people will remember.

Double Surface I believe this is Kirk Stiles's (an old friend) because I think he printed it in his Magic And Spells Quarterly some years ago. I just can't find it. "Two minds along similar pathways," etc. I'd used the idea for years taking it one step further. I'm including it here because A Dice Interlude reminded me of it, and also because I think it should be given wider circulation.

Assume a die is on the table, 2-spot up.

The way I do this (my "step further") is to show the same surface THREE times, as I say, "What a strange die this is; it has a 2-spot here, a 2-spot on the other side, and ANOTHER 2-spot here. I wouldn't play with that!"

Continue, and complete, the turn. There is NO pause at all during the turn. (See Fig. 3-) Now, as you say, "...and another 2-spot here," turn your hand back to position, turning inward, counter-clockwise. Do the opposite of what you did during the first turn.

The actions, which must fit the patter, follow. Again, the actions take a second or two - not so the explanation. Lift the die, as in (Fig. 1 ) . Mention the 2-spot.

Turn your open right hand outward (clockwise) to apparently show the opposite side of the 2-spot. AS you do, your thumb bends in under the die - (See Fig. 2) which is a stop-action view halfway through the turn - and remove your second finger. The thumb takes its place.

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As your hand turns inward, your second fingertip bends in, its back catches the inner lower corner of the thumbtip's die surface (See Fig. k) and then your second finger opens, straightens, holding the die, as you remove your thumb. The die makes an extra turn, as it did the first time - the larger movement, in each case, covers the smaller movement. You're now back to original position, the die between your first and second fingers, 2-spot up.

Afterthoughts: Again, once you become familiar with it, it takes a second. Each_turn once outward and then once inward is a fluid continual blend of movement.

When your hand is back to original position, after showing both sides, you can either hand the die to your spectator, or end by placing it back onto the table. The position is exactly as when you first picked it up.

Unkindest Cut Of

Talk about cheating at Rummy as you deal two seven-card Rummy hands. Turn up the next card (KH), placing it near the tabled deck, as usual.

Of all the gambling set-ups I know, the Black Jack set-up used here is one of the best, if not THE best. It's been around for a long time, but Allan has taken the idea a step further. The idea of demonstrating how you can cheat at two OTHER games before getting to Black Jack is obvious now that Allan has worked it out!

Turn over and spread your opponent's hand without changing the order of the cards, to show a mediocre hand. (He'll have one "lay" or meld, the 4, 5. and 6C. ) Turn over and spread your hand, without disturbing the order, to show a perfect Rummy hand (7, 8, 9S, and the four tens).

He tells me that the stack he uses as his basis is from a pretty recently published manuscript on gambling tricks. That stack is: ace, 5, 3- 2, 6, 7, 10, 10, 8, 10, 10, 9, k, repeated four times. The "10's" are picture cards or 10-spots.

Place your face-up hand ONTO the opponent's face-up hand; all these ONTO the face-up KH, and all (15) cards face down to the BOTTOM of the deck.

As I told Allan, that exact stack was printed in Hugard's Magic Monthly in the early 1960's. There, it was 8, 10, 10, 9, k, ace, 5, 3, 2, 6, 7, 10, 10. As you can see, this is the same except that in the one Allan read, the thirteen cards have been cut - that's all.

Twenty years before (in IRELAND'S YEAR BOOK, 10, 10, 8, 10, 10, 9, 7, And, I've been told that ther than that.

Do another false shuffle and cut, if you like. Now talk about cheating at Poker as you deal a five-hand, five-card, stud (or "open") poker layout. That is, the first card to each hand is face down (hole card); all other cards are face up. The fifth hand is yours.

the Hugard's mention 19^2) the stack is: 6, 5. ace, k, 3, 2. it goes back much fur-

Talk as you deal, pointing out that any hand can win, the betting is fast and furious, etc. Finally, flip each hole card face up ONTO its other face-up cards. There'll be one flush (diamonds), but your hand wins with four jacks.

In any case, it's a terrific stack. With the entire deck set up (four repeats of the 13card stack), the deck can be cut (complete; see Afterthoughts) as often as desired. You can then "burn" a card - that is, place the top card face up to the bottom, which is sometimes done during a Black Jack deal, or you can NOT burn a card. And playing, dealing, legitimately, in a two-person game; you and one opponent; you'll win 90% of the hands. In many cases, according to the cut, you'll win ALL the hands!

Place your face-up hand onto the fourth hand, these onto the third hand, etc. Place all these cards (25) face down to the bottom of the deck. (Or, turn each five-card hand face down. Pick up from left to right, one hand onto the other - your hand last. Leave these on the table and drop the deck proper onto them.)

You're now all set for the Black Jack demonstration! Have your opponent cut anywhere he likes and complete the cut himself. If you're burning the top card, let him do it. (You can let him place the top card face up anywhere into the deck, then you openly cut the deck to bring the face-up card to the bottom. This is similar to the handling in some gambling halls.)

Okay; now to Allan's routine, which uses the first stack mentioned. Set the entire deck as follows, from top down: ^C, 6D, 2C, 2D,

All

6C, 9S, 2S, 10H, 3D, 10S, 5C, 8S, AH, 10C, 10D, 9H, 7S, KH, 2H, 8C, AD, 7C, JC, 4S, KD, 5H, JH, AS, 7H, QD, 3 C JS, 5S, KS, 9D, 8H, 3S, KC, 4D, 6S, JD, 9 C 4H, AC, 5D, 3H, 6H, 7D, QH, QC, 8D, QS.

Deal through the deck, playing "head to head" Elack Jack. You'll win at least 90% of the rounds!

To perform, do the usual false shuffles and cuts, retaining the entire order. (Of course, if you want to crimp the QS, you can do shuffles that retain the order but cut the deck.

Finally, cut the crimp to the bottom.)

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Afterthoughts: It's true that I, personally, don't often use a complete-deck stack. I do, occasionally, use this; it's strong. I'll tell you what I do. After I stack the deck, I give it one reverse faro. I.e., run through

the deck stepping up (outjogging) the first card, then every other card. Go through the entire deck. (See Fig. 1.) Then strip out the outjogged half and place it on TOP of the inner half.

This not only convinces the audience that the deck is THOROUGHLY shuffled - it also puts you right into the set-up!

If you don't want to do the reverse faro beforehand, you can simply set the deck that way. I've already done the work for you. Set the deck like this, from top down: 4S, 3H, 2H, JD,

6C, 2S, 3D, 5 C KD, JH, 7H, 3C, 6H, QH, 8D, 9S, AD, JC, 6D, 5H, 4H, 5D, 2D, 7D,

AH, kC, 9H, KH, 8C, ?C, 5S, 9D, 8H, KC, 6S, 9C, AC, 10H, 10S, 8S, IOC, 10D, 7S, AS, QD, JS, KS, 2C, 3S, 4D, QC, QS.

ONE perfect "out" faro, from this set-up, when you start performing - and you're ready to do this routine.

For the Black Jack demonstration, you can let the deck be TRIPLE (or center) cut - you'll still win most of the hands!

To perform, do a face-up ribbon spread to show a thoroughly mixed deck. Then a couple of false shuffles. Then, onp perfect "out." faro.

^Fitch

Finally, Allan worked this out for two seven-card Rummy hands. Since Gin Rummy (ten cards to each player) is more popular now, can anyone change the set-up to enable a Gin Rummy demonstration?

Double Transfer Coin Production

Bob is one of the stars of the Broadway show, Annie. He's a fine actor and a fine coin man. The combination of the two tends to make most of his moves and routines unique.

There's really no way I can portray, in print, how natural-looking he makes some quite difficult moves.

He showed me two coin transfers - imperceptibly switching a coin from one hand to the other. Each is a utility move and can be used separately in many different ways, and during many different routines.

We worked out a simple coin production routine, just so that I could try to teach the two transfers. Right and left hands are interchangeable - Bob does his moves with either hand.

When he feels there's a chance he'll be asked to do a trick, he'll classic palm a coin (he uses half dollars or dollars) and just keep it classic palmed for an hour, if he feels like it.

From here, you move to "flex" your right thumb. Move your left hand toward your right thumb; at the same time, your right hand turns slightly toward your left hand. (See Fig. 3) for a stop-action view.

Assume you have a coin classic palmed in your left hand. You're asked to, or volunteer to, do something.

Bob goes through a hand and finger "flexing" sequence. He sometimes begins by stretching the fingers of both hands. (See Fig. 1) for your view. You can tilt your hands outward quite a bit, keeping the palmed coin out of spectator view.

Now, the first transfer; it's part of the flexing sequence. With your left fingers, thumb beneath and fingers above, bend downward your (palm-up) right second, third and fourth fingers. (See Fig. 2.)_

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Your palms meet and press together as ,your left fingers grasp, stretch, and flex your right thumb. (See Figs. 4, 5. and 6.)

It's as your palms momentarily press together that the coin is transferred to right-hand classic palm. If, at first, you have a bit of trouble getting the coin into right-hand palm, the little finger side of your left hand can press it into position. Look at figure 5 again. It's an almost instant, and imperceptible, transfer.

This makes sense. You've flexed your right fingers, showing your right hand to be empty at the same time. Now you do the same to your left fingers - and your left hand is seen to be empty. You don't, of course, EVER say, "Look, my hands are empty."

With your left hand, pretend to catch an invisible coin from the air. Bob actually SEES that coin. He looks to his upper left, sees a coin, and catches it. Hold your left hand in "French Drop" position, as if holding a coin.

It's Bob's acting here that can't be described. He "tosses" that invisible coin up into the air and catches it, once or twice.

It REALLY looks like he's tossing and catching something. HE BELIEVES he is.

His left fingers curl and bend downward as he "catches," the way your fingers would look if you really were catching a coin. Toss and catch a real coin; study the way your hand looks as you catch. Make the fake catch LOOK LIKE THAT. All right; here comes the second transfer. It can be done from finger or classic palm. Bob also does it from thumb-palm position. Since you've got the coin in right-hand classic palm, let's do it from there.

Your left hand is back in French Drop (or Spellbound) position, as if holding a coin thumb up, fingers down. Your right hand approaches to take that coin. Your right thumb goes behind the invisible coin - the way it would if you were taking a real coin.

(See Fig. ?. )

It's as you reach the position shown in this figure that the coin is dropped - actually, lightly tossed - onto your curled left fingers, directly into finger-palm position.

At this point, Bob usually stretches the fingers of both hands again - as in figure 1.

His attitude is - he's in no hurry; he'll do the trick when he's ready. It's more natural looking. It's better than just doing the actions rapidly as if they were PART of the trick. Also, he feels that this gives the muscles of your right hand a moment to get accustomed to the palmed coin. It affords a moment to be sure it's properly locked in palm position.

The sequence is important. Reach to take the invisible coin. Lightly toss the coin into left-hand finger palm and immediately move your right hand to your right and slightly upward, as you look at that hand as if there's a coin there. There's no hesitation - it's an instant transfer. Your left hand does not move as your right hand moves away. (See Fig. 8.) Bob's angle tip here is - if your left fingertips are pointing toward your spectator's forehead, the finger-palmed coin can't be seen.

Now, do exactly the same transfer actions with opposite hands, WITHOUT transferring the coin. That is, your right fingers flex your left fingers and thumb.

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9 Now, toss and catch the invisible coin with your right hand, just as you did with your left hand. For the production: Hold the invisible coin between right thumb and fingers - fingers above. As you say something like, "But until you actually see it, you may not believe it," your left hand approaches your right hand.

Afterthoughts: Bob works mostly standing up. That's how he'd do this sequence. Go over it; I hope you see how good it is - and how good each transfer is.

To do the second transfer from fingerpalm position, instead of from the classic palm, is practically the same; you'd have to slightly adjust accordingly.

Simply grasp the finger-palmed coin between your right thumb and fingers, and move your left hand back to the left, sliding its fingertips over the coin, as the coin comes into view. Your right fingers and hand do not change position. (See Fig. 9) for your view just as the left hand starts moving back to the left. This is basically the Spellbound action.

In order to make the taking of the invisible coin look right, I'd suggest you actually take an object from French Drop position. Then, make the "take" look exactly like that.

Bob uses the French Drop position not only for the standard vanish, but also for appearances, switches, changes, and so on.

Ransom

New^Charlier Pass The oldest explanation in English I have handy is by Sachs in SLEIGHT OF HAND, 1877, which describes only the "drop," then, as an "easy and natural" card control, he describes the "lift" method, the Charlier Pass being completed in the usual way as soon as the chosen card has been returned, bringing it to the top.

I'd never seen anyone do the Charlier with the deck held flat on the left palm until Tom did it for me. Most cardmen I've shown it to admitted that they've never seen it either.

Tom's remarks about the Charlier Pass, including some of the history, were so interesting to me - I asked him to write them out for me.

Here it is in his words: The Toronto card expert, Harry Smith, recalled the remarks of a card sharp on the proper handling of the Charlier Pass some time ago, and set me out on the trail of a fine piece of card technique which has been lost to the present day. The sharp maintained that the correct starting position for the sleight is not up at the fingertips but standard dealing position - that is, the "mechanic's grip." From this grip, the thumbtip raises up the edge of the top packet, thus reaching the same position as in the usual handling after the thumb releases the bottom half.

There are two great advantages of this "lift" method as opposed to the "drop" method.

First, the starting position is perfectly natural for the "lift," while the "drop" requires the deck to be at the fingertips. Second, the "lift" keeps both packets in perfectly squared order, while the "drop" jars the bottom packet considerably, with the first and fourth fingers ordinarily being required at the ends of the deck to maintain control. Note the effect on pages 2?8-9 of EXPERT CARD TECHNIQUE, wherein the Erdnase One-Hand Shift is recommended to replace the Charlier Pass "since the deck lies flat on the palm prior to the sleight"! (However, on page 280, paragraph 8, the "flat" starting position of the Charlier is mentioned.)

189

In 1897, in NEW ERA CARD TRICKS, A. Roterberg describes the "drop" method, then adds that it was "Charlier1s original way of performing this pass" to control a selected card.

After the card is returned, the upper packet is let fall, apparently losing the card in the center. However, a "step" is formed and retained, the "lift" method of the pass being used at the step as the opportunity occurs.

The description by Erdnase in THE EXPERT AT THE CARD TABLE, 1902, is merely a paraphrase of Hoffmann's description, including mention of the "lift" method. C. L. Neil's THE MODERN CONJURER, 1903, describes only the "drop" method. In MAGIC WITHOUT APPARATUS, 1914, C. Gaultier neglects Hoffmann's description, but does discuss Roterberg's version, which he feels is unsatisfactory. More recent writers, such as Tarbell, Hugard, and Lorayne describe only the "drop" method.

After pondering over the old descriptions, and after some experimentation, the following handling was developed, with the pleasing notion that it represents the true technique of Charlier - idle speculation, perhaps, but Charlier was reputed to be a card sharp, whose technique must be based on naturalness. This handling takes the most natural features from the old records (using the authors' own words) and brings them together for the first time.

The Charlier Pass affords a ready and natural means of gaining possession of a selected card. The card having been chosen, the performer says, "Now, sir, will you put the card back in the deck?" He offers the deck lying on the palm of his left hand, but as he does so, opens it bookwise with the thumb, bringing it into the usual Charlier Pass position. (See Fig. 1) for start of move. The difference is that the little finger is at the side, with the other fingers, not the end, of the deck. The movement is so easy and natural that the spectator instinctively places the card in the opening, after which the magician calmly allows the upper half of the deck to drop on top of it.

If the performer wishes, or if he misses the thumb break, the stepped condition of the deck allows him to form or recover a break, or proceed to a variety of cut controls. The thumb break allows the thumbtip to break the deck instantly at the step, as in the first action of the sleight, thus allowing the performer to bide his time until he can execute the Charlier Pass unobserved. At the table the action may be hidden by the right forearm as the right hand reaches across to the left for some purpose.

Afterthoughts (HL): Actually, when using either the "drop" OR "lift" method, it is easy to drop the top half, after the replacement, so that it forms a step above the selection.

I particularly like the inward forefingertip bend, when using the "lift" method, to form a beveled injog at the rear of the deck. This should be a fairly sharp, slight, in and out movement of the forefingertip just as the upper half is falling onto the lower half. The movement of the forefingertip is quite similar, in action and concept, to a palming method (Larry Jennings) I described in A Multiple Palm in my book, RIM SHOTS.

Certain control is secured by curling the tip of the left first finger inward slightly after the return of the chosen card, thus beveling the top portion of the lower packet inward. (See Fig. 2) for a stop-action view.

You can also, when the thumb releases the top packet, apply enough pressure to close the break at the front.

(^Apocalypse Variations or* Additions Subscriber Sam Rosenfeld just loves To Tell The Truth (Vol. I, No. 6 ) . He has a couple of fine ideas pertaining to it. First, he feels that since many magicians may be asked to repeat it for the same people, it might become obvious that he (the performer) always asks about the "liar."

So, why not change occasionally, and ask, "Does the honest person (the truth-teller) have the ring (or whatever)?" When you ask it that way, always go to the POSITIVE (instead of the negative, as I originally taught it).

Once you're aware of this, you can give the spectators more choices when you approach them.

"Of which of you two shall I ask my one question?" and, "Should I ask if the liar has the ring, or if the truth-teller has it?"

Giving your spectators all these free choices makes the entire thing more bewildering than ever.

Sam also suggests the following method with cards (and, it's good): Force, or glimpse, a selected card. The deck is shuffled. Ask the spectator to choose a partner. Explain the idea one will be the liar, the other the truth-teller, etc.

Turn your back and have the first spectator find his card. The two of them decide who should put the card into his or her pocket or purse. Then, turn back and ask the "liar" or "truth" question. You not only say who has the card - but you NAME it before it's removed from pocket or purse! This can be made to look like a miracle!

c?u6lisfied, written, HARRY

dirt director

edited:

BILL STEINACKER

LORAYNE 190

Harris

"Tour linger Show your left hand empty, and call attention to your right hand - to end.

The usual ending for a four-coins-across (hand-to-hand) routine is that the fourth coin travels across, from hand to hand, just as the other three did. Well, here's a new ending for youj a visible, different, appearance of the last coin. It's easy to do and quite effective. Most important, laymen will remember it.

Afterthoughts: What a pretty thing this is! With proper timing the illusion, the magical appearance, is perfect. The slight backward movement of your right hand is never noticed. As a matter of fact, what I do is - as my left hand goes into the bend of my right elbow, I allow that action to create the momentum to move my right hand. The arm moves - but the action is so natural that it doesn't register.

Attention is on the rubbing away of the lefthand coin.

You're at the point in your routine where three coins have already traveled, one by one, from your left to right hand. One coin still has to "go." You're working over a close-up mat, or any soft surface - although this can be worked out to "play" on any surface.

Place the three already-traveled coins onto the table, a bit to your right and in a horizontal row. If the fourth coin is in your left hand, drop it to the table to display, then pick it up with your right hand. If it's already on the table, just pick it up. Pretend to place it into your left hand, but retain it in your right. Get it into classic palm.

Incidentally, for the movement of your open right hand, placing your fingertips on the three visible coins, at the start - you may want to check David Roth's Chink A Chink in Vol. 1, No. 1 for his method of making it appear as if the hand is OFF the table.

If your coins-across routine utilizes an extra coin, work it out so that the "ditching" of that coin is covered by the surprise of the fourth coin's magical appearance.

As you look at your closed left hand, place your open right hand FLAT onto the table below the three visible, tabled, coins. Your fingers are spread apart, and the coin is no longer palmed. It's released as you place your hand and is now resting on the table beneath your right palm. (See Fig. 1.)

Bring your attention, and your audience's, to the tabled coins. Keeping your right palm pressed onto the hidden coin, raise your right little finger and move your hand so that this fingertip goes onto the tabled coin on your right. (See Fig. 2. ) When you move your hand the hidden coin, of course, moves along with it. Moving your hand, if necessary, place your right third fingertip onto the center coin, and position your second fingertip onto the coin at your left.

Be sure your fingers are spread apart enough so that there's space between the coins. (See Fig. 3-) It's a very open and aboveboard, disarming, action and position.

Bring your attention back to your left hand. Talk about this being the last coin; you will attempt to make it travel through your right arm. Look at your right hand as you raise and lower (tap) your right forefinger a few times, calling attention to the fact that there's no coin there.

Look back to your left hand as you pretend to hold the coin(?) at your fingertips. Move the coin to the bend of your right elbow, and pretend to rub the coin into that area.

At that moment, AS you rub away the nonexistent coin, slide your right hand along the table toward you. It slides only a couple of inches - according to the size of your hand and ONLY your hand moves, taking along the visible three coins - the hidden coin stays in place. Your forefingertip comes to rest on the originally hidden coin. (See Fig. h.)

(Turn these upside down for your view.)

191

Ellipses (...)

Had an emergency, last resort, call from Jerry Andrus, in November...he'd just flown into town to do a lecture for the IBM, and had no idea where the lecture was being held! It was too late to reach anyone at home...they'd all gone to the lecture! I put him on "hold" and made some calls... finally found out where it was being held...Jerry made it all right. He should read my memory books!

That reminds me...I didn't handle Slydini's linking pin routine in Issue 10, Vol. 1...I just edited it. I've received some mail suggesting that Jerry Andrus should have been mentioned...

I'd asked about that before it ran and was told the method for preparing the gimmicked pin was different, and so on. Well, I agree, Jerry's name should have been mentioned... for that matter, so should Vosburgh Lyons have been mentioned...I think the "key" pin was his idea in the first place. That's why both names are mentioned here. And, Howie Schwarzman tells me that the One-Hand Okito Box Sequence (Vol. 1, No. 10), credited to Irv Tannen, really belongs to the late Frank Thompson. Frank showed it to Howie, who showed it to Lou Tannen (some twenty years ago), who showed it to Irv, who showed it to me...and so it goes.

I've been getting RAVES about the artwork of Bill Steinacker...glad you all agree with me .

One of the reasons you don't find many book reviews in Apocalypse is because I don't want to fall into the trap of saying something isn't good when I haven't seen the author or inventor perform that something. I'm wise enough to know that I'm not wise enough to criticize effects I've not seen performed.

Ian Baxter, one of the editors of The Blue Print (Australia), and who has given my books rave reviews in the past, and who is a friend fell into that unwise trap in his review of my book, THE CARD CLASSICS OF KEN KRENZEL. He does write about some "delightful plums" in the book. He also says that Ken "attempts" to "naturalize" the double lift. He says, "The first paragraph on pg. 18 is laughable..." He calls the idea a "nightmare" and "It sounds like trying to pass off a Dagwood sandwich as a pancake...No jest...not a hint of tongue in cheek."

Here's the paragraph he's referring to...

"How would you like to be able to turn over up to half the deck and make it appear as if only

one card has been turned? You can do it with exactly the handling described for the multiple lift of four or five cards. To repeat - this is the uniqueness of this particular sleight."

Do you see anything laughable there? Yes, it's Ken's method of turning up to half the deck as one card, and I've seen him fool roomfuls of people with effects using the idea. Many (including some of the top "in" cardmen) think it is a BREAKTHROUGH in card handling. Other reviewers have called Ken's magic (in my book) "breakthroughs." I use the idea in "Stop Me" (from the book). It's a fooler.

Ian should know better. Why in the world would I include something if I hadn't seen it performed - and if I didn't KNOW it was good?

Miracles, of course, are created by people coming up with methods that others think are "laughable." Don't fall into that trap. I know from my own experience - my own effects that too many magicians can't visualize an effect from printed descriptions - they have to SEE it performed. One day, somebody will fool the pants off Ian with Ken's multiple-turnover idea. 'Nuff said.

Tom Fitzgerald, of Delaware, called to tell me that he performs John Cornelius' Sliding Knot (Vol. II, No. 1) with a red and yellow silk. The extra piece is red/yellow, and when a red and yellow knot is seen sliding - THAT'S a gasper! He sometimes allows a spectator to untie the knot. Good idea with ropes, too.

Announcement received in the mail...The Darwinian Society, Las Vegas's informal magic club, now meets from Wednesday midnight till Thursday dawn in The Banquet Room of Pat's Chinese Kitchen...magicians and humans are welcome!

Just received a copy of a book on cards, written by Christian Scherer...called EINE HANDVOLL KARTENKUNSTSTUCKE...yes, it's in German.

It's dedicated to me...I see references to my books all through it...the author, in a nice letter, says that he's learned most of his card effects from me...at the end of each effect is "Nachbemerkungen," which means "afterthoughts"; and at the end of the book is "Schlusswort," which means "Last Word." Familiar format?

Can't make up my feelings... should I feel as if I've been had...ripped off...or complimented!? Can't tell you if the magic is good... can't read German too well. Auf Wiedersehen!

NEXT MONTH Father Cyprian has to clone...

Terry LaGerould doesn't have to remember...

Don England has to zigzag...

Bob Gabrielle has to make something happen.

Hiram Strait has a concept of color...

Jeff McBride has the "jumps" over a card...

Sol Stone has to count from one to five...

Remember - if you Xerox this magazine, you lessen its worth to YOU! APOCALYPSE is published every month by Harry Lorayne, at: 62 Jane St., New York, N. Y. 10014.

All checks are to be made payable to Harry Lorayne, and mailed to him at that address.

Individual issues - $3-00 each Subscription - $30.00 per year

Overseas subscription - $33-5째 surface mail (U.S.A. dollars only) - $39.00 air mail - $40.50 airmail to Australia, Japan, So. Africa, etc.

192 Apologies: 3 things got by me when I "proofed" the March issue. A sentence was omitted from Triangle Angle. At the top, right column, pg. 170 - "Let your hands be seen to be empty as your right hand picks up the upper right coin. Vanish it - retaining it in your right hand."

Same page - Fig. 3 should have depicted the left hand, moving leftward. And - on pg. 171, Fig. 1 is incorrect. The face-up 5D should be on top of the small packet, not under the face-down top card, as shown. Sorry!

c

Hafty Lotayne's VOL.2 NO.5

THREE DOLLARS

MAY,1979

pocalypse COPYRIGHT

ISSUE NO. 17

There are, of course, many "you do as I do" methods. Most of those I know utilize a top or bottom key card. One of the reasons I like this so much is that no key cards have to be pre-set. Aside from that particular benefit, it is also a clean and direct anytime, and anywhere, any deck, quick little miracle.

1979 by H.LORAYNE.INC.

At this point, you have to find a set of mates (two red fours, two black jacks, etc.) in your half. Father "Cyp" simply, and casually, fans through and finds them - which is fine.

You might prefer to "cover" by asking your spectator to look through his half to make sure the cards are well mixed, or whatever, as you do the same.

Only one deck is used. Let your spectator, who is sitting opposite you, shuffle the deck. Ask him to cut it into two face-down halves. He's to keep one half and hand you the other.

You'll always find a pair of mates and, quite often, you'll find them side by side. In either case, get them to the top. "No sweat" here since, as you get them to the top, you ask your spectator to shuffle his half as you shuffle yours. Ask him to shuffle as you do (overhand) to start the "you do as I do" theme.

Father Cyprian

193

Do a jog shuffle, keeping the mates (let's assume they're the red fours) on top. I usually do one complete jog shuffle then one more, leaving the mates at center with the injogged card directly atove them.

Do a buckle or pull-down of the bottom card of the left-hand portion (face-down red four). Father Cyp uses either/or. He most often does the pull-down with the base of his left second finger which, I believe, is a Larry Jennings idea. I, personally, use a buckle.

Father Cyprian likes to square the sides of the half but leave the ends - particularly the outer end facing the spectator - unsquared, a bit sloppy. There should, of course, be no suspicion whatsoever that you're controlling, or "doing," anything.

This is done as your right hand is cutting its portion to the bottom. The right-hand portion really goes between the bottom card and the rest of the left-hand cards. Easy, because of the buckle or pull-down. (See Fig. 2.)

Ask your spectator to spread his cards from hand to hand and, whenever he likes, drop one card face down to the table - as you do the same thing. What you do is to spread to, and including, the card directly beneath the jogged card - one of the mates. In other words, the red four is at the face of the right-hand cards.

Square the cards as your left fingers cut up to the break (which your right thumbtip has maintained) and complete the cut. So, what you've really done is two quick cuts. And, you've moved the indifferent face-down card to the bottom, and the face-down red four to center.

_Reach to the table with your right hand, holding the face-down spread, and drop the i|— spot. As you do, push off and pull back the top card of the left-hand portion with your left thumb - securing a momentary left little finger break beneath it.

Flip the right-hand cards face up onto the face-down left-hand cards - that is, onto the "broken" card (the other red four). Without pausing, your left fingers cut the lower half of the portion, up to the break, and flip it over, face up, onto the half you just placed on top.

What you've accomplished, in less than a second, is to turn your entire half face up except for the second red four, which is face down at the bottom. Although you don't really need any "shade" for this simple maneuver, you have it anyway, because you're asking your spectator to do the same thing - turn his half face up - as you do it.

The rest is build-up. Ask your spectator to spread his face-up cards until he comes to the face-down card he just cut to center; you do the same with your half. Be sure not to expose the other face-down card at the bottom.

Each of you places his face-down card to the table. Let your spectator turn them over to see that you've each selected a red four!

Each of you now holds a face-up half deck; a face-down card is on the table in front of each of you. Reach over and peek at his tabled card by lifting a corner - don't let him see it and really pay no attention to it. Have him look at your card - he'll see a red four.

Afterthoughts: The effect is a quick one, unless you want to make it longer with your presentation. It is clean and direct. If you want to get technical there is, of course, an "illogicality" - that of placing the two facedown cards into the face-up halves. If the two cards really match, why should that be necessary? You'd simply show them immediately.

Pick up his card, keeping it face down, and place it on top of your face-up cards. Ask him to do the same with your card - he places it face down onto HIS face-up cards.

Well, most pieces of magic contain at least one "illogicality," that has to be covered. In this case, I usually cover it with a "change of mind" ploy. As soon as the facedown cards are cut into the face-up halves, I pause for a beat. Then, I say something like, "I was going to exchange halves, etc; really build this up. But, it's such a miracle - that isn't necessary. Please place your face-down card back to the table..."

As you tell him to cut his half, cutting the face-down card to center, you appear to do the same thing. What you really do is this: Your right thumbtip lifts the inner end of the top (face-down) card. Then, maintaining that separation, lift about half of your portion.

(See Fig. 1.)

You can clean up (the indifferent facedown card) any way you like. (See Dai-Verse Color Change in Apocalypse, Vol. 2, No. 1, or Straighten Out, in this issue.) What Father Cyp does is to pull down, or buckle, the bottom card as he revolves, turns, all the other cards face down, end for end, toward himself, ONTO the bottom card. I do this as the spectator is turning over the two tabled cards. Or, you can take the spectator's half, turn it face down, and place your face-up half ONTO it. Now, simply spread off all the face-up cards and turn them face down. You're clean.

194

"Terror ^LaQerbuld

"No Memory" cTViagic Square Subtract 20 (always) from the selected number. Let's assume the number is 59- The number you write in the top empty square, is 39. The number you write in the second empty square (second row, at the left) is always ONE LESS than the number you wrote in at the top.

In this example, it's 38. Then, from the lower right empty square, moving up diagonal left to the empty square in the third row, write the two numbers that follow the first number you wrote. In this example, you'd write 4-0 and 41.

That's it; the magic square is completed. (See Fig. 2.) Of course, you should move your pen around the paper as if you're writing other numbers very rapidly.

The last few times I performed my Instant Magic Square for magic groups, invariably some would say, "Boy, why don't you put THAT in one of your books?" Well, I taught it in TWO of my books - REPUTATION-MAKERS and THE MAGIC BOOK. I guess it has to be seen to be appreciated or remembered.

Then, of course, there are the lazy types who passed it by because they didn't want to do the little bit of memory work involved. This is for them - and for you.

Terry has done the memory work now. But when he first read my Instant Magic Square, he wanted to perform it right away, before he had time to memorize the basic square.

%

In order to perform it as I do, and as I have taught it in my books, you'd have to memorize the basic square, as in (Fig. 1 ) .

38 5. 7 /33 HI 9 6 10 5 짜 짜0

The four blank spaces are the ones that have to be filled in after you know the number.

%

II

/

7 133 9 6 10 5 짜 2

If 3<? 1

1

This will work for any selected number.

And, obviously, once you are familiar with the simple key, you can complete the entire (?) square in two or three seconds!

Then, the ending - which is to show all the different combinations that add to the selected number. These are explained in detail in my two books. To keep this complete - first point out that you did this without time for thinking, and that there are no repeated numbers; each is used only once.

What Terry did was to draw the above on the SECOND page of a note pad. The pages of the pad should be opaque so that the square doesn't show through when a spectator handles the pad.

Then point out that every row across (left to right) totals 59 (this example). So does every column (up and down). And so do the two diagonals. These are the standards that you mentioned before; but you've gone further.

To perform: Do some introductory patter about magic squares. Explain that the basic concept is that all lines across will add to a selected number, so will all rows down, and the two diagonal lines.

Point out that the four corner squares (8, I, 10, 40) total 59- The four squares IN each of the four corners, upper left (8, 11, 38, 2 ) , upper right (39, 1, 7, 12), and lower left and lower right - all total 59. So do the four center squares or numbers.

Say that you've been practicing to do it without too much thinking, and as quickly as you can write numbers. Ask one spectator to think of any number from 34 to 100; he can change his mind, etc., but finally settle on one number.

The two top center numbers (11, 39) added to the two lower center numbers (5, 4) will total 59, and so will the two at left center (38, 3) plus the two at right center (12, 6 ) .

When he says that he has, drop the pad onto the table and hand him a pen or pencil.

Tell him to tell you the number and to write it on the pad "so that you won't forget it."

The "pan diagonals" (38, 11, 4, 6 and 39, 12, 3. 5) both total 59. And finally, there are four 9-squares in the 16-square. The four corners of each of those total 59: 8, 39, 3, 9II, 1, 41, 6; 38, 7, 10, 4 and 2, 12, 5, 40. I always darken the lines of these 9-squares as I talk about them.

As soon as he writes the number, pick up the pad and pen. Tear off the top sheet and hand it to the spectator. Be sure to hold the pad facing you so that the pre-written square is not exposed.

Say that you'll form the magic square now, as rapidly as you can. Hold the pad toward you and fill in the four empty squares. Here's how:

As you say, "Every combination will total your number," drop the pad or the page onto the table - or hand it to your spectator. He can check it and/or keep it for a souvenir.

195

that surface under, bringing another blank surface to top. He writes another number there.

He keeps doing this, always folding a blank surface to the top. He has it worked out so that no numbers show at any time as he folds up a blank surface.

Finally, he opens out the paper. There are 16 numbers, forming the magic square for the selected number!

Afterthoughts: Forgive me for saying so myself but it's one heck of a stunt. Terry's presentation eliminates the memory work. If you're interested in my complete "instant" presentation, which is stronger and completely impromptu, check either of the two books I told you about.

Terry has another presentation - for this one you DO have to memorize the entire basic square - that's unique. He's holding a pen and a FOLDED (into a small square) paper as he talks. He asks for a number.

He immediately writes a number on the upper surface of the folded paper. Then he folds

What a good idea. It looks completely haphazard - and miraculous. Play with it. If you're interested enough, let me know. Maybe I can pry the exact method and handling out of Terry.

Straighten Out This is a move used to straighten a reversed card that's at the bottom of the deck.

It's an interesting move to make part of your magical knowledge.

1

Perhaps at the end of a preceding effect there's a face-up card at the bottom of the face-down deck. To imperceptibly straighten it out, hold the deck in your left hand; your right hand rests on it from above, a bit more to the right than usual.

Your left fingertips curl under the deck and push the bottom card out to the right, no more than half an inch. (See Fig. 1) for an exposed view.

As soon as it's side jogged (although the move can be done after a delay, if circumstances warrant), your right little finger bends upward moving the jogged card upward and to the left. Your left fingers open to allow the card to move up and over the deck's right long side. (See Fig. 2.) Note that the right little finger has started to move to the left.

Your entire right hand moves slightly to the left - as the start of a squaring action.

This aids your little finger in completely reversing the card onto the deck. (See Fig. 3-) Immediately, almost before the card is completely flush, start moving your right hand to the right, then back to the left, in the squaring action.

That's all there is to it. It takes a split second, or less. It will take a few tries before your right little finger "learns" to move up and inward in this strange fashion.

Afterthoughts: It might help you a bit, at first, if you raise your entire right hand slightly upward as your little finger does its work. The action will still be covered. After a while, that won't be necessary - or, at least you won't have to raise the hand as much.

there's a face-down card at the bottom (rear) of the face-up deck.

A bit of noise usually accompanies the move, but it's slight and seems to be part of the squaring action. That's what the entire, instantaneous, move should look like - a short squaring action.

Mention the name of the face card - then do the move. Done smoothly, it appears as if the face card has changed during the squaring action.

When you have the move working smoothly, you might try this: Have the deck face up;

If you don't like the color change, don't blame Dai; it's entirely my idea!

196

Qabrielle

Something

Happened

This is a "quickie" utilizing a Boston box. The Boston box is really an Okito box that has an indentation, to accept a coin, at its bottom. Actually, Bob originally performed this for me with an "Angel" box; a smaller, plastic, version of the Boston box, which accepts quarters rather than four half dollars.

I'd never seen one before.

The turnover move is exactly the same with the coins in the box. Box and coins turn together - the box is now bottom up, but a coin shows. To the spectators, nothing has changed.

3. With your RIGHT hand, move toward, and indicate, the upper left corner of the close-up pad. As your right hand moves, your left fingers grasp the box - that's all; otherwise it remains stationary.

The basis of the routine is a fast onehand turnover of the box. It's easier to do with the Angel box because it's smaller; a bit more practice is required with the regular Boston box. The box lid is not used. Aside from this turnover move, it's the rhythm of the action that's important. It's a continuous fluid action - but I'll break it into steps for you.

Immediately bring your right hand halfway back, toward you, as your left hand moves to that corner (upper left), moving the box to that position. Press down slightly as you move it so that the lower coin doesn't slip out.

Momentarily cover the box with your palm-down left hand.

First, however, the turnover move, which is done once with each hand. The mouth-up box is on the close-up pad, directly in front of you. As you cover it with your left hand, the fleshy thumb base of that hand contacts the top (mouth) of the box and tilts it to the right.

(See Fig. 1) for an exposed view. Note that the mouth is directly against the thumb base.

All this takes a second, and is done as you say, "And when I do THIS, nothing happens."

Uncover the box, and move it back to position (in front of you) with your left hand. h. The same actions are done now, but at the upper RIGHT corner of the pad, and you indicate with your left hand and grasp the box with your right fingers.

1

The "work" is done during this action.

Your left hand points. The box is automatically hidden from view, for an instant, by your left forearm. As your left hand moves partially back toward you, your right hand raises the box just enough to clear the four coins, and moves with the box - on the pad now, to the upper right corner. Cover the box, for an instant, with your palm-down right hand.

The actions look exactly as in step #3, but the work is done. Your left forearm provides more than enough cover for the move.

(See Fig. 2) for your view about halfway during the action. Again, you're making the same remark as you do it.

From here, a bit of practice will produce the knack of turning over the box - continuing the slight movement to the right - so that it is mouth down. From the position in figure 1, the slight continuing to-the-right movement brings the left edge of the box up against your thumb basej from there, it's simply pushed mouth down. Once you acquire the knack, it's clean and instantaneous.

5. Two things happen now, at the same time. Your left hand (which has moved a bit farther back toward you as you finish your remark, and your attention is on the box) covers and moves the coins to the upper left corner.

They should be pushed along with the left thumb base. Don't JUST push them; they'll spread out into an upward vertical row if you do. Press your left thumb base firmly against the inner edge of the lowermost coin. Maintain that pressure as you slide the coins. This assures that they will stay in stacked condition as they move.

All right; the box has a coin affixed to its recessed bottom; this is not shown, of course. Place the empty box directly in front of you - this works best on a pad. Display four coins and drop them one at a time into the box - or, let a spectator do it. Both hands rest palm down and naturally near the box.

Now, here's the routine, in steps: 1. Cover the box with your left hand, as you say, "When I do this, nothing happens."

This same remark is made as you execute EACH step, until the last one. Remove your hand.

2. Cover with your left hand again - doing the turnover move. This time, wiggle your hand a bit, as it covers the box, to make it look different from step #1, and to "shade" the turnover. Remove your hand.

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At the same time, your palm-down right hand covers the box at the upper right, doing the turnover move. This is exactly as described for the left hand; simply reverse the instructions and the directions.

"But when I do THIS - something happens!"

Raise both hands (make sure they're seen to be

^Hitam °§trait

empty) to display the four loose coins at the upper left, and the empty box at the upper right. The coins have magically flown!

Afterthoughts: Practice the turnover move with both hands until it's effortless! go over the five steps until they flow one into the other - and the effect is a quick stunner.

Color* Coqcept

This is a basically simple effect, yet it is difficult for another cardman to reconstruct.

Another interesting aspect is that the effect will appear to be different to different spectators. To some, it will appear as if each of two signed cards magically jumped from one deck to another. To others, it will appear as if those two cards magically changed the colors of their backs. It's interesting; follow closely.

You need a red and a blue deck. The setup is simple. The cards used should be contrasting (a black and a red) and they should have clear space at their centers for the spectator's signature. So, place the (say) 2C on top of the red deck. Under that, place the BLUE-BACKED (say) 4H. On top of the blue deck, place the same card that's on top of the red deck - in this example, the 2C. Easy to remember; the top cards are the same, and a blue-backed card (^H, in this example) is second from top of the red deck.

To perform: The red deck is face the table, to your left; the blue deck your right. Pick up the blue deck and the 2C (top card) the cleanest way you

down on is to force know.

Turn it up, mention its name, and place it to the table, FACE UP. Place the blue deck back to the table, face down and beneath the face-up 2C. "You took any card out of the blue deck, now I'll take any card out of the red deck."

You can shuffle as you talk, keeping the top two cards of the red deck intact. Double lift from the top of the red deck, showing the 4H. Hold these two cards, as one, in your right hand, as you place the red deck back to its table position - but place it FACE UP. Hold the face-up double card from above, with your right hand; thumb at inner end, fingers at outer end. With your left hand, pick up the face-up (blue) 2C and place it under the double card, stepped to the left. (Fig. 1.)

Name the two cards, then turn over your right hand to show the blue and red backs. Turn your right hand back to position, and square the two(?) cards with your left fingers.

Let your spectator sign the face card the 4-H - along its center. Move the signed ij-H (single card) to the bottom (rear). This exposes the 2C. Everything looks as it should.

Let the spectator sign this card just as he did the kH.

1 Move the rear card (the ^H you just put there) back to the face (onto the 2C). Pull the (now) bottom card (2C) a bit to the left.

This looks the same as before, just as in the illustration, but now, the 2C that's pulled to the left is the UNSIGNED one. That's why you have the spectator sign along the center of the card. If he'd signed across the width of the 2C, part of his signature should be visible now - and, of course, it won't be.

Turn over your right hand, showing the backs. Again, all is as it should be. The 4H has a red back, and the 2C has a blue back.

Ask, "From which deck is the four of hearts?"

The answer, of course, is - "From the red deck."

"That's right." Square the cards and remove the face 4H. Place it (don't flash its back) face up onto the face-up red deck (to your left) and cut this deck, bringing the 4H to its center. Leave the deck on the table.

"From which deck is this two of clubs?"

Flash the blue back of the double card as you talk. (The spectator's signature is also visible on its face.) When he answers, "blue," place the double card, as one, face down onto the face-down blue deck. Cut the deck.

Remind your audience that any card was taken from the blue deck and any card was taken from the red deck. Each was signed, and then replaced into their proper decks.

Do your magical gesture and ribbon spread each deck face down. There's a contrastingcolor card at the center of each deck. Turn them up to show that they're the signed 2C and 4H - to end. (See Fig. 2.)

Remember - if you Xerox this magazine, you lessen its worth to YOU!

Afterthoughts: Go over this a couple of times. Once you're familiar with the workings, it will be easy to remember, and easy to do.

Everything looks as it should throughout the routine. That is, the signatures show when they should, and the proper color backs show when they should. It's a fooler!

I've given you the basic routine and only the skeletal patter. It should be easy to build an interesting story around this.

Jeff ÂŁMcBride

Tip Jumping Card

Flourishes like this are good attentiongrabbers, and this one is fairly easy to do.

Jeff uses it at the beginning of his ambitiouscard routine; I occasionally use it to catch the "jumping" card next to a selected card.

The flourish itself is an easy-to-acquire "knack" kind of thing. It won't work too well on a too-smooth surface. Try it on a tablecloth and, of course, a close-up mat is perfect.

Take one card with your right hand. Hold it at an end, and place it about a foot, or so, away from you - on its other end. The back of the card is facing you. The upper end is held between your right thumb and second fingertips; your forefingertip rests on the end itself.

(See Fig. 1.) Your left hand, holding the face-down deck, is near the table's edge.

In action, there's no pause here; the card is pushed down, and released, at the same time.

The release is simple. Move your right forefinger off the top end of the card by moving it slightly downward and away from you.

The card will spring backward, toward you!

(See Fig. 3.) With just a bit of practice, you will find that you can easily catch the "jumping" card on the deck - with your left hand.

1 Now, your right hand does two things at once. It pushes down on the upper end of the card, and releases with the thumb and second finger. The center of the card will "belly" outward (away from you). Also, move your hand (or just your forefinger) EVER SO SLIGHTLY away from you. The card shouldn't be bent too much.

(See Fig. 2.)

Done properly, the card jumps back toward you on a "line drive." It looks as if it's on a reel. Also, it may flip face up as it lands on the deck. It's not a definite; it may land face down or flip over because of air currents.

It doesn't matter. Of course, you can also try it with the face of the card toward you. continued next page...

The subscription drive (March issue) went quite well, thank you. Two small problems arose...a couple of people who'd subscribed before felt that they should-have waited - then they could have received a free item, too. Well, obviously that was not my purpose. Don't wait for any free offers next year...there will be none. Repeat...NO MORE subscription drives. Frankly, it's almost more than I can handle right now!

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As I said, Jeff uses this at the beginning of his ambitious-card routine. The first time he causes the "ambitious card" to rise to the top, he asks for the card's name. He flips over the top card, to show that it is indeed the ambitious card. He says, "Oh, that's the jumping card." He does the flourish, catching the card on the deck. He immediately does a top change and continues with the routine.

I've used it to locate a selected card.

Control the selection so that you have an injogged card above it - at center. Place the deck near the table's edge, injogged card toward you. Remove and show the top card, saying that it's his card. When he denies this, ask for his card's name. Place the right-hand card to "jumping" position. As you do, your left hand goes to the tabled deck. Your left thumbtip contacts the injogged card.

Form a break beneath it and maneuver so that you open the front end of the deck just as you cause the right-hand card to jump. Catch it in the "mouth" thus formed. (See Fig. 4.)

This isn't difficult because you can open the "mouth" wider as the card flies toward the deck. Practice a bit. Release the deck after you've caught the "jumping" card, ask for the selected card's name again - and show that the "jumping" card has found it.

Afterthoughts: It IS a pretty flourish.

You should get it after only one or two tries.

Just stay loose; don't use a "heavy hand" on the card. Your forefingertip should move off it LIGHTLY, glancinfly.

The flourish can be used in many ways, of course. As described here, or to locate the four aces (use the injogged-card method I explained), or to change a card as it flies.

Simply do a double lift then, holding the card face toward you, do the "jumping card." It appears to change in mid-flight.

One to Five Here's a perfectly clean vanish or change of a coin without using sleeving or lapping.

At least it's perfectly clean in Sol's hands.

The exact same presentation, and just about the same moves, are used for the vanish as for the change. I'll explain the vanish first. The coin vanishes as you count from one to five.

Hold a coin (half dollar or English penny) at your right fingertips; your hand is palm toward you, thumbtip on the coin, first and second fingers below. Turn your right hand inward and to your left hand, placing the coin to your left fingers. Count "one." Turn your left hand, as your right hand turns back to position, placing the coin back to your right fingertips.

Count "two." You are, of course, showing both sides of the coin this way. Your hands move simultaneously but in opposite directions.

When the coin is placed back to your right fingertips on the count of two, bend your right second fingertip slightly so that it is partially under the lower edge of the coin. (See Fig. 1.)

On the count of "three," place the coin back to_your left hand with the same movement but, this time, place it lower down - onto fingers or palm. Relax, or slightly move (downward), your right thumbtip as you do this, and the coin will automatically be partially clipped between your first and second fingers. Your thumbtip rests on the coin's inner edge. (See Fig. 2.)

What the count of "four" looks like to your spectator is that your right hand opens, palm up - and your palm-down left fingers place the coin onto your right fingers. That's what you really do, except that the coin goes into complete back clip as you do it.

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From the position in figure 2, start to turn your hands clockwise (to the right). As soon as they start moving, bend (or close slightly) your right first and second fingers.

The coin will "roll" into back-clip position.

Your right thumbtip is the fulcrum. (Fig. 3.)

This is a stop-action view as your hands are about halfway through their turn.

The count of four is also the same, except that when your left fingers go onto your right fingers they deposit the finger-palmed coin.

That's all. On the count of five, raise and turn your left hands the copper coin is seen on your right fingers. That exposed coin, incidentally, lies directly over the area where the silver coin is back clipped, hiding any exposed edge. It's a beautiful, and magical, change.

From here - there's no pause in performance, of course - open your right hand and place your left fingers on your right fingers.

Your spectator thinks the coin is under your left fingers. Count "four." (See Fig. 4.)

Sol does the change a few times in succession. Just as the copper coin is exposed, your left hand moves around the outside of your right hand - stealing the back-clipped coin into finger-palm position. This movement is a gesture, indicating the changed, visible, coin.

It's one fluid movement. You're in position to repeat the change. You can continue to repeat it indefinitely - but two or three times is sufficient.

Afterthoughts: The count from 1 to 5 for the vanish or the change should be a steady, fairly rapid, rhythmic, count. No pauses or hesitations. The only time a short, one-beat, pause would fit is right after four - just before showing the vanish, or change.

I worked out a short, double change, routine using a silver/copper coin. The gimmick is finger palmed in your left hand, silver side out. Show a regular half dollar at your right fingertips, and perform Sol's One To Five. The copper side of the gimmick is exposed. That's the first change.

Take the copper coin (the gimmick) with your left hand; display it on your palm-up fingers. As you do, and attention is on it, the right-hand back-clipped silver coin is brought to finger palm.

To stay in the 1 to 5 counting format, close your left hand (1) - this turns the coin.

Turn your fist back up (2); turn it back down again (3): stick out (open) your thumb (4); open all your other fingers (5). The silver side of the gimmick shows. That's the second change.

Pick it up with your right fingers and toss it back into your left hand, switching it to the real half dollar. Drop it onto the table so that anyone who wants to can look at it.

Turn your left hand palm up, as you count "five" - the coin is gone. You can simply end there - or produce the coin from wherever you like.

Now - the change. It's almost exactly the same, except that you start with, say, a copper coin in a "loose" left-hand finger palm. Do the same actions exactly for the counts of one, two, and three (with a half dollar). Just be sure your hands are tilted enough toward you so that you don't expose the palmed coin.

Lorayi\e Storm I put this in a book, but as usual, it's hidden there. No big deal, but did you know that if you want to force a number (to end a card location) it's easy if you give the spectator a choice of "between" two in front and two higher?

For example, to force 18, say (casually), "Give me a number between 16 and 20."

1? and 18 are on the nose (turn the next card for 17); the only problem is 19. But, it'll rarely be named. If it is, you'll either have to do a false count or, better still, he counts (onto the table)to, and reverses, the 19th card. That's all. It's now next to the 18th card.

You can hardly miss!

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Close-up Zigzag Card This interesting effect is a preview from Don's upcoming book, THE SPECTATOR'S CHOICE. What appears to happen is - the spectator selects any card, and signs it across its face.

The performer folds the card into thirds, then opens it and turns it face down. He immediately slides the middle section of the card out to the side - and then "back again! The card is handed out for examination.

Preparation: You need a double-backed card to match your deck - plus the "zigzag" gimmick. Once you make it, it can be used over and over again. To make the gimmick: Fold a card in thirds, open it, then cut out HALF the center section, as in (Fig. 1 ) .

1

Then cut out the entire center section of a duplicate card and the center section of any other card. (To make these sections match, you should fold the card into thirds first.) The face of the latter can be anything, since it isn't seen, but its back will have to match the back (center section) of the card in figure 1.

What Don does is to cut out one center section and SPLIT it. He makes the gimmick with these two pieces. This cuts down on the thickness of the gimmick.

These two center pieces are laid face up and down, end to end. Place two strips of Scotch, or any thin, tape at center - taping the sections together there. Place two more strips of tape, also sticky side down, at one end of a section. (See Fig. 2.) Fold these end strips over onto themselves, then fold the left section over onto the right section forming a wide tube, or sleeve. (See Fig. 3.) Slide this tube over the cut-out card, as in (Fig. 4 ) .

That's the gimmickj the center section will slide out halfway. (See Fig. 5.)

Set this gimmick face up on top of the matching deck; position it so that when it is turned face down, during the routine, the center section will slide to the right. On top of this, place the double backer. You're set to perform.

Have any card selected; be sure not to expose the face-up gimmick. Square the deck and hold it in your left hand. Let your spectator sign the face of his card, then take it from him and, still holding the deck, fold his card into thirds - fold it so that the folds match the sections of your gimmick.

PUBLISHED, WRITTEN, EDITED ; ART DIRECTOR

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&M SteinacRer

Open it and hold it face up on the deck making a remark about his signature. Do a triple turnover. Don does this by grasping at the upper right corners of the cards so that his right hand "shades" most of the right side of the three-card block as it turns over.

(You're also probably better off holding a left little finger break to facilitate the turnover.)

Push the (now) top card to the right (the signed selection) and hand it directly to your spectator. The double backer is on top, and everything looks as it should.

Your spectator sees what appears to be the back of his signed, folded, card. Slowly slide its center section to the right with your right thumb and forefinger. Grasp the card, keeping pressure on the center section to keep it tightly closed, and lift the card to your eye keep its back toward your audience.

Afterthoughts: If your handling is clean, particularly the triple turnovers - this is "miracle time"!

Clean up according to your working conditions. It's easy enough to lap the top two cards (gimmicks) if you're seated - or palm them off if you're standing.

You can, of course, show the face of the card during the "zigzagging" if you want to a) force the duplicate of the gimmick, b) forge your spectator's signature as best you can on one section of the gimmick, and c) make sure he signs the same section of the folded card with the same pen, same ink.

Look through the center space, then push a finger through it, etc. (See Fig. 6.) Slide the section back, or place the card face down onto the deck first - then slide it back. In either case, place it onto the deck and triple turnover again.

Make up the gimmick, perform the effect; it's good. I know that a couple of guys to whom I taught it before it appeared here have done so - their opinion? It's a knockout!

Incidentally, Bill Steinacker places a tiny dab of wax onto the face of the gimmicked card - on the center part, the part that's not cut out of course - under the sleeve. The reason for this is - when the "zigzag" is done, a slight press at that point keeps the sleeve from wiggling down and up, which it has a tendency to do. The sleeve "un-adheres" when it's pushed back into alignment.

Out to

continued from page I67

At times, it would be obvious (too obvious) that I was "turning on" one of the female customers. As I said, the groupie-like syndrome. At first, I thought that was good.

Wrong! The guy was spending a lot of money; HE wanted to turn her on! The fact that I obviously turned her on - turned him off! The danger involved was the fact that the more I turned him off, the smaller grew the tip.

At first, doing close-up magic at tables, when a woman asked if I told fortunes, I'd answer, "You'll have to see a Gypsy for that."

It was a put-down, because my ego had been bruised. How DARE she not want to see more of my great effects and ask to have her fortune told!?

I was wrong, of course - all the way. I realized pretty quickly that although it was the man who did the tipping, I'd be wise to please his lady. If I pleased her, he was also pleased and the tip was larger.

I had to learn to handle it without hurting the girl's feelings. This really can't be explained. What I did was to work at building him up - I tried to make him look good in her eyes. For example, one of the things I did was to catch his eye and indicate the face card to him, with a wink. I'd force that card on the girl and have him read her mind. Believe it, this got me a larger tip from him than any "great" routine I could have done. He knew that she'd be begging him to tell her "how he did it" that night!

That's when I developed a fortune-telling routine (Tell My Fortune; CLOSE-UP CARD MAGIC).

When a lady asked if I told fortunes, I went right into that routine. It was strong, and never failed to please the woman, and therefore the man.

A happy medium had to be reached as far as women were concerned. There was a bit of the "groupie" syndrome involved. Quite a few times while I was working I'd feel a hand on my thigh!

Flattering, but dangerous. I'd move away as soon as I could do it diplomatically. I'd make it appear as if the moving was part of the effect I was performing.

to be continued...

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Ellipses (...)

I live within walking distance, but as of this writing... haven't had the opportunity to walk to The Village Gate in Greenwich Village, New York City, to see Richiardi's magic show...I've heard only good things about it.

Have you ever tried saying "toy boat" quickly ten times? Almost impossible... interesting though, if you PRACTICE doing it...keep your mind on it...you can. Saying it backward, "boat toy" quickly ten times is even more difficult.

So is trying to say the name, Peggy Babcock, quickly five or more times. Some have trouble saying it once!

Frank Garcia suggests - when doing the well-known "ash" effect...where ashes appear on your spectator's palm...drop a glob of ash on a white tablecloth...with open palm-down hand rapidly pat the ashes - straight up and down...they disperse and disappear, leaving no trace. Try it on a cheap tablecloth first! Looks good.

Charles Hudson uses and fools all with Bernard Bilis1 Pair-A-Noic (Vol. 1, No. 12). The method he suggests for getting the selected card between the two vital face-up cards is...double cut the two top cards to the bottom as the spectator shuffles his packet, etc. Get a break above the two bottom cards and do the kick (or swivel) cut reverse... reversing both top cards together to the bottom of the deck as you casually cut.

Kick cut again...spectator places his card on left-hand half...your right hand does the Ovette Master Move (Kelly's Bottom Placement) with bottom (face-up) card. Selection shown, then slipped above the "moved" card. Charles also suggests replacing the two aces and two deuces, in the set-up, with picture cards (or others)... spectator never cuts that small a packet...good idea.

Where have all the whatever gone? dept: Whatever happened to all the rubber dam effects... that's about all close-up magicians were doing some years ago...never cared for them...the dam looked damn phony! Ed Mario's move was mentioned in Vol. 1 a few times...it was mentioned incorrectly ... it ' s not the AFTUS move, it's the ATFUS move (Any Time Face Up Switch).

Been getting calls and letters from magicians who can't locate THE HARRY LORAYNE MEMORY GAME...they want it for Larry Becker's mental effect, utilizing my game...in his book, WORLD OF SUPER MENTALISM. Only suggestion I can make...call or write Riess Games, Inc..41 Madison Ave. , New York City 10010...212, 679-2440...mention my name. Maybe they'll start distributing it a little better.

Heard tell that Martin Nash is quitting magic...won't pick up a deck of cards again...too bad...loss of a good card man.

Did I ever tell you about the time I was appearing at a trade show in Cobo Hall in Detroit, Mich? At the same show were Marshall Brodein, Karrell Fox, and De Yip Looie. One evening we all were driving across the bridge into Windsor, Canada to catch Ricky Dunn's act at a place called The Top Hat. No passports are necessary to cross into Canada from the U. S. A...but you do have to go through customs. The uniformed customs man at the Canadian side of the bridge stuck his head into the car and asked each one of us, in turn, where we were born. Karrell, Marshall, and I answered... then the custom guard looked at De Yip Looie, who is obviously oriental...but who speaks the way I do!...and asked, "Where were you born?" Looie thought he'd be funny...he answered, "Russia." It cost us hours! Moral - don't make jokes when you're crossing borders!

Baron M. Gregor von Feinagle was a memory expert in the early 1800's...he contributed quite a bit to the art of trained memory...his feats of memory, for that time, were so remarkable that people thought he was tricking them in some way. It's the corruption of his name that gave us the word, "finagle." Things haven't changed that much!

NEXT MONTH The Amazing Randi's number's up...

Jean-Jacques Sanvert's triumph is tripled...

Gene Castillon's coin is "swoggled"...

Albert Charra's very lucky...

Allan Hayden's coin is a jumbo...

Bernard Bilis's coin grows...

Paul Gertner's game is Black Jack...

Bill Steinacker's double lift is a snap...

APOCALYPSE is published every month by Harry Lorayne, at: 62 Jane St., New York, N. Y. 10014.

All checks are to be made payable to Harry Lorayne, and mailed to him at that address.

Individual issues - $3-00 each Subscription - $30.00 per year

Overseas subscription - $33.50 surface mail (U.S.A. dollars only) - $39.00 air mail - $40.50 airmail to Australia, Japan, So. Africa, etc.

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Lofayne's VOL.2 N0.6

THREE DOLLARS

JUNE,1979

pocalypse ISSUE NO 18

Presented properly, this is a good strong prediction effect. The mathematical principle belongs to Shigeo Futagawa (a math professor in Japan); the presentation is Randi's. He has given basically the "bare bones" of the idea.

Play with it, build up a good presentation, and the outcome leaves little to be desired.

I have some thoughts on it as you'll see in my Afterthoughts. Here's the basic idea in, basically, Randi's words.

EFFECT: Performer gives spectator a sealed envelope containing a prediction. The performer shows freely a deck consisting of cards numbered on both faces. Otherwise, they are not embellished in any way, and may be prepared from double-blank playing cards or from regular business card size blanks. Sample numbers shown to the spectator as the deck is looked over, show no regular pattern. The deck is thoroughly shuffled, and to show that the process is complete, half the deck is turned over and shuffled into the other half. A few cuts, and the top four cards are dealt off onto the table. The rest of the deck is put aside.

THE BINDER HAS ADVISED ME THAT BECAUSE OF THE EASTER HOLIDAY QUANTUM LEAPS WILL BE SLIGHTLY DELAYED. BEAR WITH ME. I THINK YOU'LL FIND THAT IT WAS WELL WORTH WAITING FOR. (COPYRIGHT

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t>> H.LORAYNE, INC. 1979

Spectator is asked to pick up the cards and arrange the four into a fan. Performer walks away, not even looking at the cards.

Back turned, he tells the spectator to choose either the upper side of the fan, or the lower, but not to tell him which. Then he instructs him to divide the cards into two pairs in whatever way is wished. That done, the spectator now turns over one card of each pair, and reassembles the fan. Now he is asked to choose either side of the fan, and lay out all four cards on the table, so they can be added together. The total of all these cards is contained in the envelope!

METHOD: There is a subtle mathematical principle involved. Consider this diagram: a a+n

b b+n

c c+n

d d+n

These are the four critical cards, edge on; a, b, c, and d represent any different small numbers. The letter n represents a constant such as shown in this sample set-up: 3 16

7 20

14 27

22 35

In this sample set-up, n=13- The total of the four cards eventually arrived at will be: a+b+c+d+2n. (HL: 72, for the sample set-up.)

Why? Because the larger numbers are always greater by n, and the manipulation described simply transfers two of the n's to the upper side of the cards!

Follow it through. By the method to be described, the spectator will end up with a fan of cards represented by the first diagram. His choice of upper side or lower side of the fan makes no difference, since he will be turning over two of the cards, and the total of each side will always be a+b+c+d+2n! Indeed, the last choice of which side he wants to use, is pretty funny, since both sides total the same!

As to how he ends up with those four cards, this is the set-up. All the cards except the forced four are cut narrower. The special four are broad at one end, tapering down at the other end to the same width as the rest of the deck. All four are arranged on the bottom of the deck with all smaller numbers facing in one direction. Your careful shuffles do not disturb the bottom four cards, and turning over the top half of the deck (to shuffle it into the lower half) does nothing, since none of these cards will be used. Should any cards get in between the four force cards, they are simply "stripped out" and replaced to position.

Performer casually deals off these four after turning the deck over several times and sets aside the rest of the deck. The rest is pure formula (and presentation).

Before revealing the prediction, and after the numbers have been added up, point out to the spectator that if any one (or two or three) of the cards had been turned over, the total would have been different! Then allow him to open the envelope...

Afterthoughts (HL): As you probably know by_now, my mind gears toward cards. If I see a coin, match, cigarette, bill, etc., routine, my first thought is - can it be done with cards!

Anyway, I've worked out a way of doing the prediction with a regular deck of cards (or a stripper deck). The one disadvantage is that you can't walk away (not look) as soon as the four cards are removed, although you can at the end. The advantages are that you can prepare a deck much faster, and that the ending, in my opinion, can be stronger.

A stripper deck is easier only because you can control the four vital cards by simply reversing them end to end. If you can CLEANLY control the four cards in a regular deck, why bother with strippers? Up to you.

All right; since the face of a card is already a value, why not use that? I've set up these four cards - a 2, 5> 7, and 9. The "constant" I used is 83. So, with a heavy, black, marking pen (on red-backed cards), I printed 85 on the back of the 2-spot (2+83); on the back of the 5, print 88; on the 7-spot - 90, and on the 9 - 9 2 . You can, if you'd rather, paste a large seal on the back of each card, and print your numbers on the seals.

Every other card has ANY number on its back. The way I do it is to have the vital 2, 5, 7, and 9 on top, in any order. I REVERSE, turn face up, the second and fourth cards. I hand out the prediction, which is I89 (a+b+c+d+ two times 83).

I shuffle the deck making sure to keep the four vital cards on top and not to expose the two face-up cards. I turn over the deck and explain that each card is a value. To keep it "straight," I always explain that jacks are 11, queens 12, and kings 13; I also mention that aces are l's. (I never use an ace as one of the vital cards because a Black Jack player may consider it 11, and louse up the prediction.)

I then explain the numbers on the backs, etc.

Now I shuffle some more, then turn the BOTTOM half face up (or, turn the entire deck face up then turn the top half face down) and shuffle the face-down and face-up halves together, always keeping the four vital cards on top. Finally, a false cut or two, and I deal off the top four. They come off two face down and two face up - it looks better that way.

I'm explaining the direct, easy, way. I, personally, often use HaLo Again, my second method, from RIM SHOTS to force the four cards; any clean force of four cards would fit.

Okay; now it's all buildup to the fact(?) that the four cards can be facing any direction.

You can end right here, because there are two face-up and two face-down cards. ANY combination of two and two will total to your prediction. This is one of the advantages of using regular cards - you can easily tell when you're at an "end" position.

Make it look as if the spectator has all choices. Tell him to mix the four cards ANY way he likes; he may turn cards face up or face down as he likes. Finally, tell him to spread the cards, separating them into two and two, onto the table.

Here, you have choices, and I can only give you the general idea; you end when you like. If he lays them down so that there is either a face-up and face-down in each pair, or two face-down in one pair and two face-up in the other - end. That is, turn away and tell him that he can total either the top numbers or the underside numbers. It doesn't matter, of course. Either side will total I89. (Example: One pair consists of the face-down 5 (88) and the face-up 9; the other pair is the face-down 7 (90) and the face-up 2. 88+9+90+2 is 189.)

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If there are two face-up cards in one pair and two face-down in the other, you can end, as I just said. You can also continue by walking away and telling him to turn over any one card of EACH pair. It doesn't matter which two he turns, you're at "end" position.

Now, assume he puts them down so that the four cards are either all face up or all face down. Start to walk away as you tell him to turn over ANY two cards. He can turn over ei-1 ther pair, or one card in each pair. He's at "end" position.

So you see that most all combinations put you in easy position to end. There's only one condition that may "throw" you at first. Say he puts them down so that one pair has a faceup and face-down card, and the other two cards are both face down (or both face up). In other words, there are one and three.

Here's how I get to "end" position from there. Tell him to turn over one card - any card. There are four cards, four choices, for him. Three of those four put you right into "end" position. If he turns either card of the (both) face-down pair, you're all set. If he turns over the face-down card of the mixed pair you're also all set, because you now have two face-up and two face-down cards.

Only the fourth choice does not put you to "end" position directly. If he turns over the face-up card of the mixed pair, you'd have all face-down cards. No sweat. Start to walk away, telling him to turn over ANY two cards - a pair, or a card in each pair. Either puts you in "end" position.

Walk back as you ask him if he'd rather total the top or underneath numbers (this is done in all cases). Let him do it to arrive at I89. Always, before the prediction is read, turn over one card, saying, "Had you turned them this way, you'd have arrived at a different total." Add them to prove this is so.

"But you arrived at 189..." Let your prediction be read. It's correct, of course!

Jacques ^anvert

One other point: I keep another set of four cards prepared to total a different number just in case I want to do a repeat.

Last minute note: Just before going to press, Randi called. He told me that Shigeo Futagawa had come up with a multiplication ending using the same concept. His suggestion is this: Have four extra cards prepared (this is for the blank card method, not my playing card method). They're numbered this way:

85

68~

These are either in the cardcase or in your pocket. All lower (or all higher) numbers are facing one way (39, 26, 65, 52). Place the deck into the case or into your pocket, after the first prediction, adding the four extra cards. Write a new prediction - 5,860,920.

Bring out the deck and force the four extra cards. Hold them fanned in one hand, near the table top. Let the spectator put his finger on one of them and slide it out of the fan onto the table. TURN OVER your hand and the three-card fan. Let him slide out any one card.

Turn over your hand and the two remaining cards. He slides out another card. Turn over the last card and place it on the table with the other three. You're at "end" position.

For this, you have a pocket calculator available. He can use top or underside of the four cards, and he MULTIPLIES all the numbers.

Example: 26x39x68x85 = 5,860,920. As long as you're in two-two position, multiplying will always result in that answer.

The formula, for those of you who are interested, is - 2x3x4x5x13 squaredxl7 squared.

26 over jk, for example, is 2x13 over 2x17; 39 over 51 is 3x13 over 3x17, and so on.

Triple Triumph

Bro. John Hamman's Two-Shuffles Harry (Vol. 1, No. 8) has received quite a response.

It is one heck of a routine.

There is a similarity between that and the following. Jean-Jacques tells me that he devised it in May of 1975. and that it was inspired by Derek Dingle's Progressive Discovery (Epilogue #15, June 1972) and Royal Triumph (Innovations).

The effect, which is multifold, will unfold as we progress - bear with me. The set-up is simple; separate the reds and blacks, and have the four kings on top. For teaching purposes, let's assume the reds are on top, blacks on bottom, kings on top of all. When ready to perform, do any shuffle that keeps the set-up intact. I prefer a jog shuffle, undercutting less than half the deck.

Spread the face-down cards from hand to hand and have two spectators each select a card; make sure that one takes a red and the other a black. The two selections must be controlled to beneath the four kings.

Use any method you like. Three suggestions: 1) Hold a left little finger break beneath the four kings - then do the Bluff Pass.

That is, riffle down on the outer left corner with your left thumbtip, asking to be stopped.

When you are, your right hand lifts, from above, the four kings only. The selections are replaced onto the left-hand cards and the kings replaced onto these. 2) Same break and do Tilt, inserting the two cards at the rear - apparently to center, but really under the kings.

3) As the spectators are looking at their cards double cut the four kings to the bottom. Have the selections replaced to the top - then double cut the kings back to the top. Always follow up with a jog shuffle after any of these.

Place the deck onto the table, long side toward you, in position for a riffle shuffle.

Cut the BOTTOM half to the right and turn it face up. Just cut near center; you don't have to worry about cutting at the color separation.

Talk about mixing face-up cards into facedown cards as you Zarrow Shuffle the face-up right-hand half under the top two cards of the left-hand half. (See Fig. 1.) The same thing

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can be accomplished by using Ed Mario's method as explained in EXPERT CARD CONJURING (and as I mentioned in my Afterthoughts in Two-Shuffles Harry). For this, your left thumb would have to lift two cards (from top of left-hand half) instead of one.

At this point, the top half deck, up to the natural break, has to be turned face down.

The fairly standard handling is to cut shallow to show a face-up card; replace. Then cut at the natural break to show back to back cards.

Take the cut-off half with your other hand as you cut the still-tabled half to show a back; replace. Take back the raised half with the "cutting" hand and replace it onto the tabled half. During this sequence, the raised half is easily and naturally turned over.

Make a magical gesture and spread the face-down cards to show that all the cards now face one way. "Except your two cards." Two face-up kings are at center. "Oh; each of you selected a king - that's interesting."

Of course, your spectators will deny that they selected kings. Place the kings, face up, to the table - cutting the deck at the point of removal. "You mean I did that great piece of magic and got the wrong cards!? Let me try again."

Repeat exactly - shuffle the bottom faceup half under the top two left-hand cards, etc.

Do your gesture; "Again, I'll cause all the cards to face one way, except your cards."

Spread to show the other two kings face up at center.

As the spectators deny that these are their cards, place the face-up kings to the table with the first two - again, cutting at the point of removal. Your patter here is, "You're SURE you didn't select kings?"

The set-up has remained the same; the selections are on top, followed by all the reds and all the blacks. Now, double cut (JeanJacques prefers, and uses, a quadruple undercut) the top two cards (selections) to the bottom. Pick up the four kings, as you say, "I'll get rid of these." Place them, face down, into (or onto) the deck. What you have to do here is to control them to the top without disturbing the rest of the set-up. If you have a method (multiple shift, etc.) fine - if not, the easiest way is to cut the top half into your left hand. Then, ask a spectator to place the kings onto that half. Place the right-hand half onto them, holding a break - double cut to the break.

"All right; give me one more chance." At this point, do Jean-Jacques' "Double Shank Shuffle," which may sound complicated, but really isn't. This time, cut the TOP half to the right and turn it face up. No need to worry about cutting at the color separation - just cut approximately half the deck.

Now, allow one card (a face-up king) to riffle off your right thumbtip (from bottom of right-hand half), then one card (a face-down selection) off your left thumbtip, then TWO cards (face-up kings) off your right thumbtip, one more from your left, then one more from your right. Don't let this throw you; you've simply sandwiched the two selections between the two pairs of kings.

Continue the shuffle by allowing a block to riffle off your left thumb, then finish the

shuffle normally, letting a few cards from the right half fall last.

What you've accomplished - besides sandwiching the selections - is to create a space above the (right-side) four kings. (Fig. 2.)

FACB.

What has to be done here, as you square the cards is to UNWEAVE that portion of the righthand half that's above that space - as you really allow the bottom sandwiches to interlace.

You don't even have to look; your right thumbtip can easily feel the space.

This may seem obvious but, believe me, it isn't. Your thumbs should be near the inner ends so that your hands "shade" the action. So, square the cards, unweaving (onto the top) as explained (these will be face-up red cards), allowing the lower cards to interlace. (See Fig. 3.) Jean-Jacques tells me that he uses this idea quite a bit, for other routines.

Cut to the natural break, and handle it as before. In other words, turn over the top (face-up) half. Here, you're turning a face-up portion face-down rather than vice versa.

Turn over the entire deck; another facedown card is seen - strengthening the supposed face up-face down condition. Actually, the entire deck is now face up except for the "king sandwiches" now on top.

Okay; we're coming to the end! Hold the deck in readiness for a double cut. Your right thumbtip lifts three cards at the top rear and maintains a separation or break. What follows is an application of Mario's Block Slip CoverUp Cut; you'd better follow it with the cards.

With your left fingers undercut approximately three quarters of the deck (center of black cards); bring this large block to the top.

As it moves onto the top, your left little fingertip moves into the original right-thumb break as your right hand pulls out (to the

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right) the three-card block (first sandwich) and moves that to the top. Finally, cut all cards "below the break to the top with your left hand.

This reads difficult, but isn't. As you do it, remark about some cards being face up and some face down. The three-step diagram (Fig. 4) will clear it up. What you've accomplished is to cut the first sandwich to the center of the black section.

B

Repeat the same cut, exactly - as if trying to mix the cards some more. Except, this time, your first left-hand undercut is the lower quarter of the deck - center of the red cards. This places the second sandwich to that position. And, your audience MUST believe that the cards are hopelessly mixed face up and face down.

Now, turn over the deck (face down) and make your magical gesture. Do a perfect cut at 26. Or, simply riffle up at the inner end and find the separation of colors. Smartly ribbon spread each half (separately) face down, exposing two face-up kings in each face-down spread.

There's a face-down card between each pair of kings. This, of course, is quite magical and quite a surprise.

Qene Castillori

Although your audience will, by now, probably know what's coming - follow through. "Again - the kings. You MUST have selected kings!

No? What are your cards?" When they're named, remove the king sandwich from each spread and turn them over - revealing the selections.

Let this sink in for a beat or two. Then, turn over - or square and re-spread face up the two spreads, to show that one consists of all the red cards, and the other all the blacks!

Afterthoughts: It's not a quickie, but it's nowhere as long as the explanation. After a few tries, you'll become familiar with the routine, and it'll start to flow. I've given you only the skeletal patter idea - fill in your own. This is a multi-climax routine.

If, after the two "cover up" cuts, setting the two sandwiches - cutting at 26, or riffling up, bothers you - you can simply spread near center BEFORE you turn the deck face down.

Break the deck at the separation of colors then turn each half face down, one in each hand and ribbon spread them. A perfect cut at 26 is cleaner of course. If you'd rather, you can corner crimp the lowermost red card when you set UTD - if the reds are on top. That card is still in place at the end, so all you have to do is cut at the crimp.

It may be gilding the lily, but - you can set the cards IN ORDER, ace to queen. Then, at the end, not only are the colors separated, but the suits are in order. Or, set the suits in order, then set them red, black, red, black.

Each spread at the end is half red and half black - but the suits are in sequence. This works because no cards change position during the routine. (You'd have to do a full-deck false shuffle at the start.)

Finally, if you have the four kings replaced - when you supposedly want to lose them, so that the red kings and black kings are together, each sandwich at the end will be of two same-color kings. Not important, it just looks prettier.

Coinswdggled

Here's good close-up magic. The routine can be done anywhere, under most any circumstances. Once you make up the gimmick, which takes a minute or so, you're set to perform whenever you like. Follow it; in Gene's words.

The basis of this routine is Jay Marborough's handling of George Starke's "Hornswogled," published in Thompson's MY BEST. The coin climax is my addition.

plan to perform seated, place the silver dollar in your lap. If you plan to perform standing up, construct a cloth bag as shown in (Fig. 1) and attach it to our left forearm with adhesive tape as shown in (Fig. 2 ) . Place the silver dollar in the bag. The bag will keep the coin secure until you raise your left arm to allow it to slide into your coat sleeve.

Preparation: You need three five dollar bills, five one dollar bills, and one silver dollar. The bills should be as new as possible. Place all the bills picture side up on the table. Glue a five dollar bill on top of a one dollar bill along the left short end of the bills. (HL: I find that it works perfectly if Iglue about an inch or so at the ends of these bills.) Place the remaining four ones together in a squared packet. On top of the ones, place the glued double bill, five side up, with its glued end to the left. Place the two remaining fives on top of the assembled packet. If you

Remember - if you Xerox this magazine, you lessen its worth to YOU! •

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To perform: Remove the set-up stack of bills from your wallet. Hold the stack upside down so that the back of a one shows on top and the glued end is on your left. Hold the stack between your left first and second fingers, thumb on top, as shown in (Fig. 3 ) . Patter about the strange experience you had when you went to the bank to cash a $20 check. Explain that you were attended by an elderly lady bank teller. When she counted your money, she held it in the strange manner (as in figure 3) and counted like this: Pull back the top one dollar bill with your right hand (HL: Its right end moves toward you and downward) and clamp it back with your left thumb. Continue this procedure with each bill, allowing the bills to remain in a fan as shown in (Fig. 4 ) . Count: "One, two, three, four, five, and five is ten, and five is fifteen, and five is twenty-teen."

After the count, release your left second finger grip (HL: Release all fingers, actually) maintaining your left thumb grip. This technique has turned the bills picture side up and

Say that you noticed the strange way she handled the money and decided to count it yourself in the normal way. Deal the bills, one at a time and reversing their order, onto the table into a squared packet, counting, "five, ten, fifteen, sixteen, seventeen, eighteen, nineteen..." Reach for the last bill and then notice(?) that there is NO last bill. Explain that you counted the money again just to be sure. Pick up the stack, keeping the glued end toward the spectators, and reverse count the bills onto the table in a squared pile, still counting nineteen.

Pick up the stack (picture side up) and grip it between your left first and second fingers as in figure 3 - the glued end to your left. Say that you went back to the elderly teller and that she held the money in her funny manner again as she said that in her 60 years of banking she had never made a mistake. Count the money as at the start of the routine, to show twenty-teen dollars again. (This time the bills are picture side up. After you release your left second finger grip, the stack will turn back side up with the glued end facing the spectators.

Patter that you decided to verify the count. Count the stack one at a time onto the table in a squared pile, reversing the order.

This time you only have fifteen dollars! Pick up the stack (keeping the glued edge toward the spectators) and reverse count the bills again, leaving them spread out widely on the table so the audience can see you only have fifteen(?).

(See Fig. 6.)

keeps the glued end of the double bill toward the spectators. (See Fig. 5-)

Say that you went back to the teller and spread the money on the table. After she looked at the money for a long time, she shook her head and admitted her first mistake in 60 long years. Gather and square the bills (back side up) and grip them as in figure 3, with the glued edge to your left. Explain that the teller reached for a pocket on her blouse and pretended to remove something which she placed under the stack of bills. As you talk, show your right hand empty, reach for an imaginary pocket, remove your empty right hand, and rub it under the stack of bills. Now count them exactly as at the start, to show "twenty-teen" dollars. After the count, release your left second finger grip, turning the bills picture side up - glued edge toward spectators.

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Count the bills one at a time onto the table, reversing their order. You only have $19!

If you are seated, allow your left hand to drop to your lap after the count. Retrieve the silver dollar from your lap with your left hand.

If you are standing, raise your left arm to rub your eye, adjust your glasses, scratch your head, etc., which will load the silver dollar into your coat sleeve. Drop your left hand after the gesture and allow the sleeved coin to drop into your left hand. Pick up- the stack of bills with your right hand and place it into your left, covering the coin. You are set for the climax.

Patter that you went back to the teller and asked her to count the money slowly, one bill at a time, onto the table. Reverse count the money down onto the table slowly. After

(^Albert Charra

the last five is counted (making nineteen dollars), the silver dollar will be exposed in your left hand. Allow the coin to drop to the table with a thud as you count twenty-teen!

(The bills are now back in correct order to start the effect for another group.)

Afterthoughts (HL): As I said, this is good close-up magic. To the audience, all the bills are shown slowly and cleanly on both sides and both ends. The appearance of the silver dollar is startling. It can, of course, be kept in your left jacket pocket if you're performing standing up and haven't prepared the cloth bag. Or, you can drop it into the armhole of your left sleeve before you start. It will stay put above your elbow without getting in your way until you drop your left hand to retrieve it.

"I'm

Albert is French, and a good friend. We see each other at least once a year, when I vacation in the south of France.

Although this may not seem to be a magician fooler, I HAVE fooled magicians with it.

The set-up is simple; place any 8, 3> and 10 on top, in any order. Place the four sevens on top of these, and you're ready to perform.

up 10-spot. Leave part of the 10-spot exposed.

(See Fig. 1.)

Double cut the bottom card to the top, then turn up the second of the three cards.

Shuffle the deck, keeping the top seven cards intact. Deal the top four cards onto the table in a horizontal row. Albert's presentation is to shift them around a bit, as if he's concentrating and as if he wants to place the four face-down cards in a certain order. They are all sevens of course, so it doesn't matter.

Give your spectator a coin and tell him to place it onto any one of the four cards. Again, Albert's presentation is to act disappointed no matter which card the coin is placed upon. He says, "Oh; you didn't want this one?" and points to another of the four cards. When I saw him perform it, the spectator said, "All right, I'll put the coin on that one," and Albert said, "No, no - that's okay; if that's the card you want, that's the one we'll use."

Push that card slightly forward; the coin still on its back. Shuffle the deck, keeping the three top cards intact, and then deal those three into a face-down horizontal row below the four sevens.

Pick up the three cards from the top row (sevens) that were not selected, and place them on top of the deck. Double cut two of them to the bottom. Or, place them to the bottom and double cut one of them to the top. Albert uses overhand shuffles to place a 7-spot to the top each time (as you'll see) - I prefer double cuts. The idea, of course, is to act as if those three cards are unimportant now, and that you're losing them into the deck. Pay no attention to them.

Turn up the first of the three cards that you dealt to the table under the sevens. assume it's the 10-spot. "This is a ten, so I must deal ten cards onto it." Do so, from the top of the deck, without reversing the order of the cards. Place them face down onto the face-

"This is a (say) three, so I'll deal three cards onto it." Do so, exactly as before.

Since there's only one 7-spot left at the bottom of the deck, you can either shuffle it or double cut it to the top. Then turn up the last of the three tabled cards. "And this is an eight, so I'll deal eight cards onto it."

Do so .

Albert's patter now: "I'm lucky. I needed a total that's divisible by 3. and I have it. I'm really lucky. Total these three cards for me (point to the 10, 8, and 3 ) , would you?

Twenty-one, that's right; and that's divisible by 3. Three into 21 is how much? Seven; right. And that means that that must be a seven (point to the card with the coin on it).

If I'm really lucky, it WILL be a seven. Turn it over, will you?"

He turns over a 7-spot, of course. "I AM lucky. And, you just touched that seven; that made it a magic card. You did touch it, didn't you? Well, look."

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Take the seven and tap the three (counted) tabled packets. Turn up the top card of each, to display the other three sevens - and to end.

(See Fig. 2.)

Afterthoughts: A simple routine, but one that can be magical and entertaining if presented properly.

I sometimes include a little throw-off. I set the last 7-spot to its proper position (instead of leaving it on top) and then count onto the last card of the tabled row, reversing as I count. In other words, if the last tabled card is, say, the 3-spot, I'd shuffle the last seven to third from top. Or, I'd simply break three cards at bottom and double cut them to the top, which automatically sets the seven to third from top. Now I can count onto the tabled 3spot, because the seven will be the last card dealt.

You can, of course, use the same presentation and patter (don't leave out the presentation ideas; that's what makes this confusing even to magicians) with the sixes; simply set up any three cards that total 18 beneath the four sixes - a 9, 7, and 2, for example. The sevens, however, seem to fit the routine more precisely.

exilian This is the first of ically changing a regular The one that follows this cards; this one uses only cally, Allan's words:

Jumbo Coiri Jumbo two methods for coin to a jumbo utilizes a deck the coins. In,

magcoin. of basi-

1

Effect: A half dollar instantly grows to many times its size as it is openly dropped onto the table or into a spectator's hands.

To perform - dropping coin onto table: The method used to produce the jumbo coin is an adaptation of the Han Ping Chien move.

I usually use this production as a climax to a coins-across routine with four half dollars. Before starting the routine, I have the 3-inch jumbo coin in my left hip pocket. (Or under my left knee, if I'm working seated.) At the conclusion of the coins-across routine, I casually steal the jumbo coin with my left hand. Holding it in my left hand, the fingers curl around the coin making a fist and hold the coin firmly against (and entirely covering) the palm. Facing the audience, I hook my thumb into my left pocket. This is a natural and "at ease" looking position.

Pick up one coin from the table with your right hand and display it on the palm. The coin must be lying in classic-palm position so that when your hand is turned palm down sharply, it will be securely retained. With your right hand, still holding the coin out_flat on the palm, gesture to someone on your right side, saying something about the coin being a bit different from the others. At this point, your left hand moves from the pocket and brushes past your stomach to your right. Your left index finger straightens to point to the coin in your right hand. (See Fig. 1.)

The back of your left hand is held facing straight upward. This will not only cover the coin from the front but will also keep the spectator on your right from catching a glimpse of it. In other words, with your left index

finger pointing to the coin in your right hand, the jumbo is held on a horizontal plane against your left palm, close to your body, near your right side.

Tell the spectator to look closely at the center of the coin as you point to it with your left hand. To produce the jumbo by throwing it onto the table, the dropping of the large coin from the left hand must perfectly coincide with the turning over of the right hand. Three actions make this move both simple and undetectable. First, your left index finger points to (and actually touches) the small coin AS your right hand turns over. Your left index finger may actually be used to push the small coin into a tight palm position. Second, as your right hand is turned palm down, apparently dropping its small coin onto the table, your left fingertips allow the jumbo to drop from your left hand.

Your hands should be held (next to each other) just high enough above the table (about six inches) to allow the jumbo to make one 212

up my sleeve (left), across the shoulders, and down the right sleeve where they drop into the girl's hands as I reach over and tug on her right thumb.

half turn as it falls to the tabletop. If the head side is facing your palm, the coin will land tail-side up. It is important that your left fingers are not stretched out or uncurled from your palm as the coin is released. That would completely destroy the illusion. Instead of the coin magically appearing in mid-air, it would look like it was merely thrown from your left hand. Allow the coin to slide back and over the fingertips, but DON'T open them out.

(See Fig. 2.) Third, the turning over of your right hand and the release of the jumbo are performed during a slight sway of both hands toward your left.

Following the appearance of the fourth and final coin, my left hand steals the jumbo as my right hand picks up a coin from the girl's cupped hands. I usually do the coin roll as I talk about the coin that's different. This gives me added misdirection to steal the jumbo coin. While showing the small coin flat on your right palm as in the preceding, your left hand, with the jumbo concealed, reaches forward to steady the girl's hands.

By holding onto the girl's right hand with your left index finger resting on her palm, thumb underneath touching her knuckles, the jumbo will be out of sight beneath the girl's cupped hands. (See Fig. 4.)

As your right hand turns over and the jumbo coin is released from your left hand, your right fingertips come down over the jumbo and carry it down flat to the tabletop. (Fig. 3.)

Your left hand, fingers still closed in a loose fist, continues to move out of the way toward your left side, where it comes to rest on the table.

If these moves are performed smoothly and naturally, as described, the sudden appearance of the jumbo coin is shocking. I have used the production under all conditions, even while surrounded.

Explain that the coin in your right hand is a bit different from the others and that you are going to mix it with those in the girl's hand and see if she can pick it out.

Toss it into her hands once, then immediately remove it again, as if you forgot to show her something. Holding the coin in your palm as before, your left hand lets go of her thumb and points to the center of the coin as you say, "Look at the center; the design is just a bit larger." Finish by dropping the jumbo into her hands as you turn over your right hand, as in the table method. But look out. Once, when I did this, the girl was so stunned that she let out a scream and threw all the coins, including the jumbo, straight up into the air.

Needless to say, the trick made an impression.

To perform - dropping coin into spectator's hands: I use this method when performing standing up. Throughout the coins-across routine, I ask a girl to cup her hands in front of her, like a bowl. As coins are vanished one by one from my left hand, they apparently travel

PUBLISHED. WRITTEN, EDITED

ART DIRECTOR:

ÂŁCarry JCorayne 213

<&ill Steinacfer

^Bernard

The Growing Coin

This can "be used as the climax to a cardcoin routine, or as part of such a routine.

You'll have to work out the way to use it, and also how to get into necessary position.

1

That position is to have the large coin as available in magic shops; Bernard uses a large Chinese coin - under the deck. The deck is held in dealing position in your left hand.

The coin should be wider than the deck the flesh of your hand covers the protruding edges. A smaller, regular, coin is on the deck, near the deck's outer right corner. It's held in place by your left thumbtip. (Fig. 1.)

To perform the magical change of the small coin to the large coin, your right hand cuts off the top half of the deck. This is cut from beneath the visible coin, which is held stationary by your left thumbtip. It's almost like doing a slip cut. (See Fig. 2.)

Change your right-hand grip so that you can one-hand fan the half deck you've just cut off. Show both sides of the fan. Do a "pass" over the visible coin - that is, simply place the fan over the coin, then draw it away.

As you do, steal the large coin to under the fan. Easy enough. Just reach with your right second finger and take the coin. The fan covers it completely.

There are two methods for the ending. The first is to do another pass over the visible coin. This time, leave the large coin ON the small one - your left thumbtip holds it in place - as your right hand draws away the fan.

(See Fig. 3.) Show both sides of the fan.

The other way is to allow the small coin to fall onto your left fingertips (which open to receive it) - and then beneath the half deck - AS the right-hand fan covers. (See Fig. 4) which is an exposed view. Now simply leave the large coin in its place. This can be tossed to the table - the small coin is hidden.

Afterthoughts: As I said, you'll have to decide how and when to use it. It's a pretty thing.

Qertner

Black

Paul does some of the most exciting closeup magic I've seen in years. Although Black Jack isn't one of the things he does in his close-up act, in his words, "It sells very well with laymen." I can attest to that.

I have some suggestions on how to accomplish some of the things that have to be done during this good "story" effect. But, I'll teach it just as Paul does it. I'll put a number in ( ) after those areas where I have a suggestion or two, and I'll refer to that number in my Afterthoughts. The story idea was suggested by Paul.

The patter line is that you don't really play Black Jack; you just don't understand it, although a friend once tried to teach it to you.

As you talk, set the following cards from top down: AS, JS, the other three aces in any order, a red and a black deuce in any order, and any 8-spot. (1) Your friend showed you how Black Jack is dealt by dealing the top card face down to the table (this is the AS; deal the card as you talk; demonstrate what's happening as your "friend" talks). Then he dealt the next card (JS) face up onto the ace.

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As you say that your friend explained that the idea of the game is to get as close as possible to 21, take the deck in your right hand in one-hand top-palm position. With your left hand, slide out the face-down AS and place it face up onto the JS. It's as you do this that you top palm the top card of the deck in your right hand. (2)

Do a QUADRUPLE lift (5) to expose an 8spot. (See Fig. 2.) Turn the lift down, as you say, "That's twenty-two; I lost." Deal the top card onto the tabled cards. Pause for a beat, and then say, "That's why I don't play Black Jack. I'm going to stick to poker; I can usually arrange to win at that game." Turn up the four tabled cards to show the four aces!

As you're doing that, pick up the AS and JS with your left hand, explaining that your friend told you that this is the best hand in Black Jack. As you talk, place the deck to the table with your right hand, and flip the two cards face down in your left hand. Secretly add the palmed card onto the two cards. (2) Flip the three cards (supposedly two) face up and show them once more by doing the D'Amico Spread, keeping the extra card hidden behind the JS. (3) Flip the cards face down. Do a double lift (a bottom-card buckle or two-card push-off makes it easy) showing the JS; then turn the lift down.

Deal the top card (supposedly the JS) face down to the table. "My friend said that the JS is a ten-count." Turn the AS, in your hand as one card - face up; "He said the ace counts for eleven, so I'd have twenty-one."

At this point, the AS (double card) has to go to the bottom. The following patter covers it. First, pick up the deck and flip it face up. "I said, 'That's fine, if you're dealt twenty-one right away; but what if that ace was here at the bottom. Then what do you do?'" As you talk demonstrate, and simply place the double card onto the face of the deck. (Fig. 1.)

Afterthoughts: It's all a buildup to the end - the showing of the four aces. The story can be made interesting and entertaining, if it is all done without hesitation. Yes, there are quite a few sleights necessary in order to reach the conclusion. In Paul's hands it's fine as is. But, if you'd rather eliminate one or two, here are some thoughts on how to do so.

(1) Obviously, if you've set up the eight cards during a previous effect, simply shuffle, keeping the set-up on top, during your opening patter.

(2) The one-hand top-palm fits perfectly here. But, if you can't, do it, do .a two-handed palm, then holtf the deck in your right hand just as if you did the one-hand palm. Also, Mario's Miracle Transfer fits here.

An easy way to accomplish the addition of the one card (an ace) without a palm is to set one ace at the bottom and only two (besides the AS) near top at the start. Then, as you display the AS and JS, place them to the face of the face-up deck for a moment. Time this so that the face ace is covered. Then steal this ace to beneath the two visible cards.

(3) The D'Amico Spread also fits perfectly at this point. If you don't know it, just push off the face card with your left thumb, displaying the AS and JS.

"My friend said, 'In that case, you 'hit,' which means - ask for another card.'" Flip the deck face down as you say this and do a triple lift, exposing a 2-spot. Turn the lift down and deal the top card onto the tabled, facedown, card. The spectators think there's a jack and a deuce on the table. "All I had was twelve, so my friend said I'd take another card." Triple lift again, exposing a different deuce. "Now I had fourteen." Turn down the lift and deal the top card onto the other two.

At this point, you have to secretly slip the bottom card to the top. Paul suggests you do NOT use a double cut because you'd never ordinarily cut the deck in the middle of a hand.

He uses the side slip or side steal (4) bringing the AS to the top. "My friend said it was according to what the dealer was showing, but usually I'd take another card to try to get closer to twenty-one."

(4) Paul is absolutely right, of course; you wouldn't ordinarily double cut or do any cut in the middle of a Black Jack hand. But, I love to make illogical things logical with a bit of acting. If you can do the side steal, fine. If not... I DO a cut; it's only part of a double cut.

At that point in the routine, I "break" the bottom card (the AS) as if I were going to double cut it to the top. I do the first part of a double cut, moving the top half to the bottom with my left hand. I steal the AS onto this half, and immediately move the half to the left so it's jogged to the left under the (now) top half. I pause here. (See Fig. 3.) The steal is instantaneous, and can't be seen. But it's the patter and acting that makes it logical, and makes it WORK. As I cut, and steal, I say, "My friend stopped me, and said, 'No, no; you can't cut the deck in the middle of a hand!' Oops, I'm sorry; I wasn't thinking." And as I say that, I bring the half I'd cut to the bottom back to

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the top. It's logical, this way. It looks like a straight cut that you immediately replace .

(5) At this point in the routine, I see no reason why you can't get away with a quadruple lift. Just be sure your spectators are looking down at the deck, and turn the lift down pretty quickly. Of course, if you can do a decent pass, you could pass two cards from top to "bottom - then you'd do a double, instead of a quadruple, lift. You could also use the idea I mentioned in (4) - reverse the action, the first cut is from bottom to top, and steal the two top cards. It would, of course, have to be covered with good reasoning and patter.

Don't overlook this routine. By the time you get to the ending, your audience doesn't really remember what happened up to then. It is the ENDING that's remembered!

Editorial Since I've written a few books on magic, I'm aware of the problems - before and after. One of the "before" problems is attempting to give proper credit. (That is, if credit is given at all. Some of the current "writers" don't bother. For example, and I've been told about this before - just today I received a letter from a magic friend in France.

Quoting him - "A French 'cardman1 is publishing, since 197^> books with tricks which don't belong to him, and without credit or authorization. Unfortunately, Harry, MOST of these tricks are yours!")

But, it's an "after" problem I want to discuss here. Most of the contributions to this magazine (and many of them, in my opinion, are really in the "great" category) are contributed by friends, acquaintances, people whose names we know, and so on.

I'm just too tied up with my own business activities - and with typewriter ribbons, carbons, et al, and too busy with writing, editing, plus much more - to be a magical historian. It is impossible, busy or not, to research every item.

Unless a contribution is obviously something that's already been in print - and I and some of my close friends are fairly knowledgeable, magically - I must take the contributor's word for the fact that the item is all right to include in Apocalypse. The only time I'll, knowingly, include something that's already been in print is when it's been in print' credited to the same contributor. I'll do that only occasionally - when I feel that the item should have wider circulation, and for one or two other reasons.

Obviously, all contributions must also meet my own personal standards, requirements, and criteria. No piece of magic that hasn't been tried, performed, by myself or a magical friend will ever be used. If it is, I'll TELL you that I haven't tried it, or checked it out, yet. Remember please, that one of my goals is to include something for everybody - for people interested in different areas, all levels, of magic.

The point I want to make here is that I must take the words of my contributors that the items contributed belong to them. If I ever print anything that wavers from that line, without proper credit - and whether the contributor did it knowingly or unknowingly, or if it's a matter of two minds coming up with similar thoughts and ideas - the blame cannot lie with Apocalypse. Your argument, if any, would have to be with that contributor.

Love to hear from you.

Harry In case you didn't know - Harry Lorayne's new blockbuster book, QUANTUM LEAPS, is available now.â&#x20AC;˘.from your favorite dealer or from Harry. Price is $2?.50 plus $1.25 to cover postage and handling. Don't wait, you fool! Don't miss this crammed-full volume of classic card effects and routines. Send your $28.75 check to Harry Lorayne...address is in the subscription box at rear of magazine. Price for out-of-country is the same for surface mail, $33.00 total for airmail. Do it now!

NEXT MONTH

â&#x20AC;&#x17E; , . .

Tom Mullica strikes a match...

Michael Ammar kicks a key...

Looy Simonoff connects...

Tony Noice is an ambitious expert...

Norman Houghton counts cards... s i d Lorraine is two-faced... p l u s _ a double-lift finesse.

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HatTy Lotayne's JULY ,1979

VOL.2 NO.7

THREE DOLLARS

pocalypse ISSUE NO.

COPYRIGHT

19

1979 by H.LORAYNE.INC.

Tom does most of his magic behind a bar in Atlanta, Georgia. Not in front of a bar, but BEHIND it. He can't do any lapping, but he can drop things behind the bar, or on the floor or service counter. He does this routine from behind the bar; you can do it at a table, sitting or standing.

on your lap - on your thigh actually, so that it's easy to grasp. If you're working standing up, keep it in your right jacket pocket. You will also need an extra piece - the "head" piece; the top third of a match. This piece is hidden in your right hand - between two fingers or whatever is best for you.

Use regular wooden kitchen matches. Wooden matches from the small slide-drawer boxes are too small.

To perform: Toss an unbroken match onto the table. Break it (or let a spectator do it) into three about equal-size pieces. Now, do the standard-by-now effect where you place two pieces into your left hand and the third into a

The preparation is to have an extra match

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pocket. The third piece magically re-joins the two in your left hand.

Do it this way: Place one of the two plain pieces into your left hand. Then the second plain piece - loading the hidden "head" piece into the fist as you do. "The head goes into my pocket." Pretend to do just that, placing the visible head piece into your right pocket. Palm it right out again.

Do your magical gesture and open your left hand, letting the three pieces fall to the table. "The head came back." Say that you'll do it again.

Time it so that the end protrudes just as you turn your fist fingers to audience, and your left fingers arrive with the piece. (See Fig. 3) to see your view just as you apparently place the piece. You'll see, when you try it, that the end of the hidden match will protrude just about a third. Pretend to place the piece but don't release it. With proper timing, this is an imperceptible switch.

Do exactly the same thing, but when you come to the "head" piece, ask a spectator to just throw it away. That's how Tom does it.

At a bar, of course, the piece the spectator tosses away simply gets lost.

If you're standing, you may want to do it just as before, placing the piece into your pocket - so that you can steal the whole match.

Whichever you do, show that "the head came back." Tom steals the whole match from behind the bar as he drops the three pieces. You'd steal it from your lap or pocket. The match is held so that its head is lightly clipped between the sides of your right first and second fingertips. The other end of the match is near the fork of these two fingers, but loose. (See Fig. 1.)

As your left hand moves to pick up another piece - the piece you apparently just placed is hidden by your left fingertips - lap the hidden piece. Tom simply drops it behind the bar. If you're standing, just drop it beneath tabletop level, and let it fall to the floor. You may prefer to do it as you talk about, and your attention is on, the piece(?) between your right knuckles.

All right; in action, of course, there's no real pause here. Your left hand picks up the head piece and places it between the knuckles of your right second and third fingers head up. Reach for the last (plain) piece and place that between your right third and fourth fingers. (See Fig. 4) for your view.

Now for the ending, which is what makes this strong, and which is the reason for including it here. Tom fooled me and everyone else watching when he demonstrated it for me.

Say, "I'll do it out in the open, so you can really see it." With your left fingers, pick up a plain piece. You're about to place that piece between the KNUCKLES of your "fisted" right hand. At least, so it will appear.

The piece is held so that your left first and second fingertips will hide it when it is apparently placed. As your left hand moves toward your right hand, close your right hand into a fist, turning it fingers toward audience.

When you close your right hand, and if you've clipped the hidden match properly, the lower end will automatically start moving and protruding through and between your right first and second fingers - at the fork. (See Fig. 2) for an exposed, from beneath, stop-action view.

Lift the piece at the right and replace it.

This is to show it again, and to tighten your knuckles, making sure it's securely held. Do the same with the center (head) piece. Only

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Snap your left fingers and toss the whole match out of your right hand! What you do is to turn your fist fingers up, and open it as you toss the match out of your palm-up hand. It actually comes from the back of your hand - "but the toss covers that. It's released by relaxing your first and second fingers. The two pieces, of course, remain between your other knuckles and are hidden at the back of your hand. It's an INSTANT restoration. (Fig. 5.)

indicate the last piece(?). The impression left is that you lifted and displayed all three pieces. Loosen your first and second knuckles around the whole match.

Pause for a beat or two to let the emptiness of your right hand be seen. Clean up any way you like. Lap the pieces, or pocket them.

Be careful not to flash them. (I lap them as I reach for the whole match with my left hand.)

Leave the whole match on the table.

Afterthoughts: You may want to do the into-the-hand part three times instead of twice.

And, the restoration will work just as well if you hold your fist with back of hand toward the audience. As I said, the ending is the strong part of the routine. Practice the timing of the switch of piece to whole match. It's a pretty routine.

(^Ambitious Experts There are no new moves in this, but what a lovely routine it is. It's the way it's put together, the fact that it's completely logical, that makes it so. In Tony's hands, it's REAL magic. His passes, of course, are indetectable. And, the routine is based solely on the turnover pass and the Classic Pass. I'll have to assume that if you're attempting to learn this then you can do these two passes well, if not expertly.

I'll teach this exactly the way Tony does it. The patter ties it all together. Spread a shuffled deck face up and ask your spectator to touch any card. Try to spread so that he touches one near center. Say the name of the card - let's assume it's the 7C - and close the spread. Get your left little finger break TWO cards beneath the 7C.

As you mention the deck areas, indicate them. When you mention "top," spread off some cards so that as you square you can prepare for a triple lift. Your question is rhetorical; continue, "One 'tickle' brings the card halfway up through the deck." Do the triple lift, showing the ?C. "Looks I'll do it again."

Turn down the triple, and place the top, single, card to center. Riffle the end of the deck one time .

Turn the deck face down, doing the turnover pass, bringing the 7C to third from top.

(See Fig. 1) to see the turnover pass halfway done, and (Fig. 2) to see it near completion.

Give the outer end of the deck one soft upward riffle. "When I tickle the ends like that, where do you think the seven of clubs has traveled to? The bottom? Center? Near the top?"

Prepare for a double lift, as you say, "You see, one tickle sends the card halfway from center to top." Do the double lift, showing the ?C. Turn down the lift.

"But, if I put the seven to the bottom, I have to tickle the ends TWICE to make it reach the top. One tickle brings it to center, the second brings it the rest of the way up. Do two end riffles and turn up the single top card, showing the 7C. Turn the card down again. "Watch, I'll do that again." Take the top card in a SLIGHTLY suspicious manner, as if you might be doing a second deal. Place it to the bottom. "It really is on bottom. Let me show you."

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Flip the entire deck face up to show the ?C on bottom. This gives you a logical reason to turn the deck face down again and, of course, you do the turnover pass, bringing the ?C to center.

Do one end riffle. "One tickle like that brings it only halfway up - to center. You don't believe me? Here, I'll show you." Flip the deck face up. Rapidly spread to center to show the 7C. Again, a logical reason for turning the face-up deck face down. As you square, get your break ONE card beneath the 7C. Turn down the deck, doing the turnover pass. The ambitious card is second from top.

Do another end riffle. "One more tickle, you see, brings it from center to top." Do a double lift, showing the 7C. Leave the double card face up. Place it, as is, to the center, "I'll do it with the seven of clubs face up, so you can actually see it traveling."

Afterthoughts: Tony tells me that nobody has ever thought of looking at the protruding card at the end - when the spectator is asked to push in the protruding card. The spectator is (or should be) so convinced by then (I was going to call this "Ambitious Convincer") that there's just no reason for him to look. Tony keeps his hand completely open and flat, as described .

The only change, or little addition, I've made is - at the point where I really place the ambitious card to the bottom, and turnover pass it to center - I do the one riffle (tickle), and when I say that it's only traveled halfway, I flip over the top card to show that it isn't there. I flip that down, then show that it's at center.

The passes MUST be done well; Tony does the turnover pass as well as, or better, than I've ever seen it done. Part of the logic of the routine, of course, is that there's always a REASON for turning the deck either face up or face down.

Tony tells me that, occasionally, after he's performed this, he'll see a layman placing a card to center, riffling the end of the deck, and wondering why the card isn't coming to the top!

As you push the double card flush, get a momentary left little finger break above it.

(Tony angles the outer end of the double card slightly to the left as he pushes it flush.

This causes the lower right corner to slightly protrude at the inner end. He pulls down on this corner with his left little fingertip, and inserts the fingertip. It's instantaneous.)

As you move the deck closer to your spectator - right under his nose - do the Classic Pass. End the pass with a riffle. The 7C appears face up on top. "See? One tickle brings it from center to top. Actually, YOU can do the same thing."

Turn down the double card and place the top, single, card to center. Leave it protruding about an inch and a half from the outer end. "Why don't you push the seven of clubs all the way in yourself?"

Extend your left hand, keeping it opened flat out; very open and aboveboard. (Fig. 3.)

Let the spectator push in the protruding card.

And say, "And tickle the end once." Let him 'tickle' the end of the deck. "And turn over the top card." He does, and sees the 7C!

Michael Am mar

Kick Key

Michael fooled me with this the first time he performed it for me. What fooled me was the location; I didn't catch how he controlled or knew my card. He used a key card plus a simple idea of MY OWN, that I'd used in an effect called "Foursome" in my book, DECK-STERITY.

that card riffle off your fingertip so that it becomes the top card of the lower half. Secure a left little finger break above the card, also in standard fashion.

Your right hand rests on the deck from above; you're in position to "kick" cut the top half into your left hand. There are two ways to make sure your right forefinger cuts right at the break; I'll discuss those in my Afterthoughts. Let's assume for the moment that that's no problem.

It's the way he glimpses the key that I want to explain here. It won't be easy; it's done during what appears to be a quick triple cut of the deck. He does it from spectatorpeek position; it can, of course, also be done when a card is replaced into a hand-to-hand spread and the deck squared.

All right; kick cut the top half to the left and take it in the fork of your left thumb. (See Fig. 1.)

Have your spectator stop you as you riffle off cards at the outer right with your right first or second fingertip - in standard spectator-peek fashion. Let him look at and remember the card. As you lower your hands, let

Ordinarily, you'd now drop the right-hand cards onto the left-hand cards, completing the cut. But, for this, kick cut HALF the remain-

220

It's at this moment that you glance downward to glimpse your key card. (It doesn't matter if you look down at the deck throughout.

Your spectator should be looking down at the cards from the right - he won't see any faces of cards.) The key is the bottom card of the "pushed" (original top) half. (See Fig. 4.)

The 2C is the card you'd glimpse and remember, in the figure.

ing right-hand cards into the fork of your left thumb, above the original top half. (Fig. 2.)

Allow all the cards to fall, and coalesce, into your left hand. That's it. In performance, there's no pause; it's a continuous action; a flourishy triple cut losing the peeked card - or the selected card.

Assuming the spectator stopped you somewhere near center originally, his card (and your key) is about a quarter of the way from bottom. So, cut a little more than a quarter of the deck from bottom to top. (Since the two vital cards have been moved to near top, I always do a jog shuffle here, keeping the top portion intact.)

Flip the deck face up, spread the cards from hand to hand, and as you say, "Your card is lost somewhere in the deck," spot your key card. This takes an instant, since you know it's near top - left of spread, if you spread from left to right hand. The card directly to the right of your key is the selected card.

(This is the idea from Foursome.) Note the card and close the spread.

As you start to place the remaining righthand (quarter) portion onto all, your left forefinger curls under the original top half (now lowermost in your left hand) and pushes that half upward. (See Fig. 3) for a stopaction view of that starting.

Now you know his card - end however you like .

Afterthoughts: Handled smoothly and properly, the location - the knowing - of the card is a fooler.

To assure cutting at the break with your right forefinger (for the first "kick" cut) while holding a break with your left little finger, Michael suggests pushing the top half slightly forward with your right thumb. That gives you the "ledge" you need for your right forefingertip. (Just press against the inner end of the entire deck with the length of your right thumb.)

That works just fine. Another way would be to simply pull the lower half downward ever so slightly with your left little fingertip just as your right forefinger "kicks." This slightly separates the halves at the outer end; your right forefingertip can now kick the upper half cleanly, right at the break.

It's pushed until it clears the second "kicked" portion. The right-hand cards should be above and a bit to the right of your left hand, at this moment. The left long side of the "pushed" portion hits the face of the portion in your right hand.

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Anonymous

A Double-Lift

Finesse

This is not a method for performing a double lift - there are plenty of those. And, every double lift ends basically the same way.

A card is shown, turned down, then dealt off the deck. This is a lovely idea which subliminally proves that only one card has been turned and shown. It was contributed by Joel Siegel's friend, Barry, who prefers to remain anonymous.

Assume you've just done a two-card turnover, displaying a card. You're about to turn down the card(s); you're in the approximate position shown in (Fig. 1 ) . Note that the double card is neither in- or out jogged; it's flush with the ends of the deck.

The top card, the one you just displayed so far as your audience is concerned - is now protruding outward. You can take it off the deck, obviously and cleanly, at its outer right corner with your right fingers. (See Fig. 3.)

Drop it to the table, or do with it what you will. You can, if you like, let a spectator take it off the deck.

Afterthoughts: To repeat, this is a lovely idea. Thrown in, occasionally, at an appropriate time - and done properly - you'll "take in" even another cardman. Practice it; it's worth it.

As you turn down the card(s) - to the left, like the page of a book - the side of your right forefingertip pushes the top card of the two slightly outward!

What happens (or should, after some practice) is that the displayed card lands flush on the deck while the original top card is automatically outjogged! Between a quarter inch and a half inch out jog is perfect.

What you have to be careful of is not to push the top card outward until the double card is about three-quarters of the way through the turn-down. If you do it too soon, it will be seen. (See Fig. 2) for an exposed view. And, remember, the card(s) is turned down, period.

No pauses; it's a split-second action.

Looy Simonoff

Sleevebone Connected to the Chestbone

This is Looy's handling of a classic table stunt. He tells me that it was inspired by his admiration for Vernon's revision of the glassthrough-the-table effect. It's easy, impromptu, and effective. With just a bit of editing, here it is in Looy's own words.

Effect: A knife vanishes from your hands and is recovered from your chest!

Method: Sit at a table with your knees^ raised and together, making a servante - a la Slydini - of your lap which, of course, is out of sight of the spectators.

Remember - if you Xerox this magazine, you lessen its worth to YOU!

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The vanish: Pick up a table knife by its handle with your right hand. Hold it near your right ear and tap the blade a few times with your left forefingernail, saying that by listening you can find the exact point at which the knife can be trent "with no effort at all."

middle of the tabletop as you apparently exert great effort in an unsuccessful attempt to bend the knife. As you do all that, grunt out words to the effect that you may be trying at the wrong spot.

Suddenly, as though the knife has softened, let your palms come together. Spread your fingers and move your hands apart, showing that the knife has vanished.

Hold the knife blade up - your right wrist resting on the table's near edge - and bang the handle end on the tabletop. (See Fig. 1.)

The recovery: With your left fore- and middle fingers, tap your chest just below the second shirt button. As you do, drop your right hand to your lap and pick up the knife by its handle end.

Saying that you feel something odd in your chest, tap it (your chest) a couple of times with your left fingers. At the same time, thrust the knife inside your shirt - below the tabletop - from right to left, between buttons.

Turn the knife blade up and, on the last tap of your left fingers, hold the knife blade pressed flat against your chest - through the cloth of your shirt.

Bring up your right hand. Slip your right thumb and forefinger behind your tie and into the shirt to grasp the point of the knife. Using both hands, slowly work the knife out of your shirt (See Fig. 3) and drop it onto the table.

Afterthoughts: I think Looy has finally solved the problem of how to reproduce the knife after the vanish. Now, it's a perfect table stunt. Try it.

Say that the spot is "right there" as you bring up your left hand to point at the blade somewhere near its middle - your left wrist resting on the table edge some ten inches left of your right wrist.

Without moving your wrists, lower your hands to hold the knife horizontally - thumbs holding it against your palms - left hand in front of right, and right little finger hanging below the tabletop. (See Fig. 2.)

As soon as the knife is out of sight of the spectators, let it drop into your lap.

WITHOUT PAUSING, slowly raise your hands from the table, moving them to a position above the

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Sid

Two -Faced

Lorraine

stack. Turn it over and it appears to be a face-down decks return it to your card case and pocket. It's all ready to be replaced with your regular deck when next asked for another miracle.

Sid used this many years ago; well, it may be so old that it's new! Listen to what he has to say: Back in the early forties, only the inner circle of close-up workers possessed such rare items as double-faced and double-backed cards to match marketed decks. Many of the miracles performed at the early conventions were accomplished more often with such gimmickry than with sleight of hand. Nowadays, these trick cards are available at, even the smallest of, magic shops.

It should not be necessary, but I'll mention it: Before doing the trick, be sure to remove the double-facer that matches the one regular card.

What follows is an effect that proved a knockout when I did it back in those early days.

It is still a puzzling demonstration today, if sandwiched between your favorite Elmsley-Biddle-Buckle finger-flinging.

As you may have guessed, it makes use of a deck of double-facers with one regular card on top so you are, apparently handling a facedown deck. The name of this regular card is written on a slip of paper and sealed in an envelope. This envelope is given to someone to hold, or displayed prominently, before you begin the effect.

Spread the cards face up. Mix them around and cut, or do whatever mixing you wish, as long as you do not disturb the regular card now on the bottom of the face-up cards. (HL: My HaLo Cut fits perfectly.)

The spectator is handed the face-up cards and instructed to hold them this way behind his back. He is then to remove any one card, turn it over and insert it so it is face down, anywhere in the deck, then cut the cards.

Afterthoughts (HL): What a "knockout" this can be if presented and handled properly.

To take it one step further of course, you can have one regular card on top, and another regular card NEAR top. Predict two cards - one for each of two spectators. After spectator #1 has turned any card and cut (at about center) - he hands the face-up deck to spectator #2. Spectator #2 takes the card now at BOTTOM, reverses it and inserts it into the deck. Finish as in the original. There are two facedown cards, etc. The reason for the handling is to make sure that spectator #2 doesn't turn the SAME card the first spectator did.

You take the face-up cards from him and, in the action of ribbon spreading them on the table, you secretly turn the deck over. One face-down card will be seen. You point out that any one of the cards could have been turned but he had chosen this one. You slowly turn it face up and it is the four of spades. (See Fig. 1.) The spectator holding the prediction is asked to open the envelope and read the message which says - "You will choose the FOUR OF SPADES."

And - if you don't want to bother writing predictions, you can have the two matching cards reversed in another deck. Show the two cards the spectators reversed!?) - then spread the other deck to show the double match.

You are holding the card in your hand and you use it to scoop up the ribbon-spread cards, thus adding it to the bottom of the face-up

PUBLISHED,WRITTEN,EDITED:

Harry

Lorayne ART DIRECTOR

224

- - Greg

Webb

Norman Hough ton This is a fooler; don't pass it "by.

Norman's words...

Thirty^-Two Turning the deck FACE UP, the magician counts aloud as he deals 20 cards into a packet onto the table. "You noted a card? And it's obvious that I have no way of knowing which one it is, right?" (See Fig. 1.) He picks up the packet of cards, replaces it to the bottom (face) of the deck, and turns the deck face down. The noted card is now 32nd from the top; no fuss, no muss, no bother.

In

There is a whole family of self-working card tricks based on a simple mathematical principle. In one version the spectator removes and counts a small packet of cards, then notes the card that lies at that number from the top of the deck. The magician secretly reverses the order of, say, 12 cards. When the spectator's packet is replaced on top of the deck, his card becomes the 13th one from the top. (HL: I taught one version of this in my book, THE MAGIC BOOK.) I found a version in print in which the spectator's packet is NOT returned to the decks he keeps it concealed until after the end of the trick. Someone names a second number, and the magician, with the deck behind his back, does some rearranging of the cards that brings the first spectator's card to the named number.

The method involves moving cards, one at a time, from the top of the deck to the bottom.

I considered this unacceptably ponderous, and worked out a faster way. (HL: The real problem with the presentation Norman mentions is - during the time it takes to move cards, one at a time, from top to bottom, behind your back, any spectator with some intelligence would have to think that you could have counted the cards, subtracted from 52, and known at which position the thought-of card was from the top. Then, of course, you could have placed it anywhere you liked. The spectator would be right - it COULD be done that way! ) Then, I saw Harry Lorayne performing his own ten-second, one-hand, version of the trick, and got to thinking about it again. I now have a streamlined method that eliminates the transfer of cards from top to bottom, and also have a different finish.

"Since it's impossible for me to find your card by normal means, I'll have to use witchcraft. I'll cast a spell - in fact, I'll cast two spells. The first one will show you that I have a name to conjure with; I'll spell out 'Houghton The Magician.'" He does so (assuming that his name happens to be Houghton). "That brings us to what magicians call the key card.

I'll spell the name of this next card, whatever it happens to be, and that will take us directly to your card." He turns over the next card and spells its name. As promised, the spectator's card is at the end of the spell.

The performer places a deck of cards in front of a spectator. (HL: He may shuffle the cards.) "I want to have a number arrived at by an entirely random method. After I have turned away, I'd like you to cut off a small packet of cards, count them silently so that I can't hear, and then sit on them. If you should happen to cut only two or three cards, take a few seconds extra so that the time won't give me a clue." He turns away and the spectator does as requested.

"Now you have in mind a number that was selected by pure chance. Do you agree that it is impossible for me to know what that number is? Good. I'm going to show you twenty cards.

That's probably a good many more than I need to show, but I want to avoid asking any questions.

When I come to the number you are thinking of, remember the card at that number. For instance, if you are sitting on three cards, you will remember the third card I show you, and so on."

(That last sentence may seem unnecessary, but I recently had a spectator think of a SECOND number, unrelated to the number of cards he was sitting on.)

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The first spell has 19 letters. You can probably work out something with your own name; use your first name as well if necessary, or leave out "the," or make it "the great" if your name is quite short, or use "wizard" instead of "magician." If you're a card or two out either way, you can shift cards from top tt> bottom, or vice versa, by a couple of cuts. If all else fails, or if you prefer an impersonal spell, try "Traganoth Zug Noxidem." This not only has 19 letters, but as a fringe benefit will cure warts. (Don't ask what it means. Witchcraft is the negation of reason, and its spells are meaningless.)

After the first spell, the noted card is 13"th from the top. The second spell makes use of the old principle that any card in the deck can be spelled so as to arrive at 13. You have probably played around with this at one time or another, but I'll refresh your memory.

For ace, 2, 6, and 10 of clubs, include the words "the" and "of" in the spell. For the 3. b, 5. 7. 8, 9, J, Q, and K of diamonds, spell value and suit only. All other cards are spelled in the ordinary way: value, "of," suit.

Don't try any massive memory exercise; just drill it into your head that clubs has 5 letters, hearts and spades have 6 each, diamonds has 8. The values fall into groups of 3, U-, or 5- Practice until you can easily recognize which spelling group any card falls into: 11 letters, 12, or 13.

Turn the card to be spelled face up on the deck. If it is going to take 13 letters, leave it where it is and use it as the first card of the spell. For 12, toss it to the table and start the spell with the next card. For 11,

Nick Pudaf

toss it out, spell, then turn up the next card.

Afterthoughts (HL): The concept is fascinating. I have my own pretty good method.

Norman saw me performing it and, as he says, it started him thinking about it. I taught my more sophisticated routine (The 29th Card) in AFTERTHOUGHTS. (Look it up.)

If you'd rather not deal the cards face up in order for the spectator to think of the card at his number, you can show them as usual. That is, deal-count the cards from one hand to the other, one card in front of the other, faces toward spectator. When you've counted, and shown, twenty cards either drop that packet onto the table and the deck proper onto it - or, replace the 20-card packet, holding a momentary break, then Classic Pass to the break.

Ultimate Transposed

Cards

the face. Keep on spreading cards until you get to the face-up QH (double facer). Don't spread any farther; you don't want to expose the face-down 9S.

Here's a quick and clean transposition-ofcards effect. It uses a double-faced card.

Let's assume that the double-faced card is the QH/9S. Arrange the deck as follows: Remove the real QH and 9S from the deck. Holding the deck face up in your left hand, place the real QH face down second from face. Place the real 9S face down in the center of the face-up deck.

Finally, place the double facer a quarter of the way down from the face, with the QH side facing the same way as the rest of the deck.

Remove the QH, and drop it face up onto the table. Square the deck, and turn it face down into your left hand. Say that you'll use any other card. Slide the QH (double facer) face up into the face-down deck, into the natural break created by the face-up 9S. (See Fig. 2.) It doesn't matter which side of the 9S the queen goes to. Push it flush. "Let's see which card we've selected."

So, you have, from face to rear - a faceup card; the face-down QH; about ten face-up cards; face-up QH (double facer); about ten face-up cards; the face-down 9S and, finally,. the rest of the face-up deck. (See Fig. 1.)

Place the deck into its case, and you're ready to start.

Turn the deck face up. Spread the first few in a bunch, hiding the second card, and continue spreading until you come to the facedown card at center. There will be a 9S on one side of the face-down card. "We've chosen the nine of spades."

Take the deck out of the case, and ask one of your spectators to name a queen. If he says "hearts" you're all set. But, if he names one of the other suits, say, "No, I meant names like Sue, Mary, or Betty! Now, name a queen."

Whichever name he gives you, say, "Oh, that's the queen of hearts." This always gets a laugh, because the spectator knows that he's getting suckered into choosing the QH.

Place the 9S (double facer) face up onto the table. Place the face-down card (real 9S) face down onto the table, calling it the QH. "Place your hand on the queen of hearts, if you please." Cut the cards once, bringing the real QH to the center of the deck. Turn the deck face down. Place the 9S (double facer) face up onto the face-down deck.

Anyway, holding the cards face up, spread the first few cards in a bunch so as not to expose the face-down card which is second from FACE-DOWN

9S

FACE-DOWN

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look at the card that's under his hand. of course, the nine of spades. End!

"We'll cut the nine of spades to the center of the deck." Suiting actions to words, double undercut the 9S to the bottom of the deck. Your specta-tor has seen you place the 9S face up into the deck, and he should be sure that he has his hand on the QH. Spread the face-down cards to show the QH face up in the deck. Do not expose the bottom card. This should be a stunner to your spectator. (See Fig. 3.) You can bet that he'll immediately

It is,

Afterthoughts: The insertion of the double-faced card into the deck in order to "randomly" select another card, is clever. It must be a casual, non-fidgety, action. You might want to get a left little finger break at the natural break before the insertion - that way you'll avoid any fidgeting or hesitation.

There are many things, with a deck of cards, I just can't do. One of them is a sidesteal. I just cannot keep the top half from moving to the right, which is bad technique.

Yet, I've fooled literally thousands of laymen with a quick card-to-pocket effect - using the side-steal. You see, I'm a great believer in taking advantage of an illogical action. I took advantage of the movement-to-the-right of the top half.

A card is peeked; I hold my break. Now, with the deck parallel to the floor, I say, "Your card can't be on bottom or on top because it's somewhere near center."

Punctuating the last part of that remark, I move the top half (which I'm holding from above) about half a card's width to the right. As I move it back to the left-hand half, I side-steal it! It's easy this way.

Without pausing, my right hand, with card palmed, grasps my left wrist, as I say, "Please hold my wrist like this; that way the card can't escape." (! ) This is a subtle "convincer" that my right hand is empty. As he holds my wrist, I do a left thumb riffle on the deck's corner, for effect - then produce the card from my pocket with my right hand.

NEXT MONTH Eric Mason is in misery...

Ken Krenzel transfers...

Jon Brunelle is untouched.

Eddie Fechter makes a choice...

Bill Voss is relentless...

Bruce Ikefugi stabs... plus.

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Ellipses (...)

Don England tells me that Ed Brown of Illinois deserves half the credit for Close-Up Zigzag Card in the May issue. Did a full-day "teach-in" in Chicago in April...had a "bad cold, no sleep, spent the four preceding days making twelve video tapes of my memory course...but enjoyed doing the all-day lecture...nice bunch of people. Heard some terrible news that day...my friend Eddie Fechter had died. I feel an awful loss. One of Eddie's contributions will be on the cover of the August issue...it was planned months ago.

An article in Genii had a sliding knot routine...nowhere near as impromptu, and nowhere near as good, as the sliding knot effect (John Cornelius) I ran in the January issue of Apocalypse... although the effect and method are about the same. Apocalypse gets there firstest with the mostest! Jon Racherbaumer tells me that Ed Mario's name should have been mentioned in the credit department of Pres"Sure" Location (April issue)...glad to do it. Heard that Herb Zarrow was ill and in the hospital (in April)... sure hope he's well and happy by now.

Paul Curry is publishing a revised edition of SOMETHING BORROWED, SOMETHING NEW. It will contain the original effects plus subsequent variations... it was originally published in 19^0!

I have an original copy...and it's still a favorite.

The Unkindest Cut Of All (April, 1979) is a good gambling demonstration. Orville Meyer suggests (tells me it's an old idea)...in broad and visible strokes with white poster paint, mark the back of every card with its Black Jack value... i.e., the tens and all picture cards are marked with a large "10," and all others with their actual values down to "A." The deck can be introduced as the world's easiest-to-read marked deck, then perform Unkindest Cut Of All. Adds interest and laughs. Orville says that you'll have to try it to see how good it is. I can see its entertainment value. Some Apocalypse routines being sold at dealers? No permission from me!

Frank Garcia showed me an interesting thing. You know the old standard of tossing the deck from one hand to the other and retaining the top and bottom cards? Usually used in a four-ace routine...to reveal the last two aces. Well, try this...crimp the four aces, long sides downward; they're on top. Double cut two of them to the bottom. Now, do that "snap" toss from hand to hand. The FOUR aces will remain in the "tossing" hand - if you apply the correct pressure.

I found this to work perfectly with certain decks - like Tally-Ho...it doesn't work with all other decks. Also, the deck should be in good condition. Experiment a bit. I added this...control a selected card to under the aces, on top...crimp all five cards... double cut the top two aces to bottom, then do the "snap" toss. FIVE cards should stay in the tossing hand. Square, and immediately do a face-down spread, buckling the last card, showing four cards... raise to show the four aces. End by showing that the selected card magically appears at center. For the index. ..Snap Toss.

Looy Simonoff liked the "toy boat" tongue-twister in the May, 1979 issue...he suggests you try "black bugs' blood" and "new linoleum." Please note that any ad that may be INSERTED in Apocalypse is a PAID ad...no "yea" or "nay" from me...my feeling is that anyone doing so wants to reach the good, or "in," people. Just found out that the basic move of the Dai-Verse Color Change (Jan., 1979) appeared in Neal Elias 1 AT THE TABLE in 1946! Sorry about that...just can't check 'em all. Some notes re: a clean-up for Cloning (May, 1979)••.place your face-up half onto the spectator's face-down half and ribbon spread. You're clean, and the ending is strong.

I've been asked to include some cigarette effects in Apocalypse... I1d love to...haven't received any cigarette trick contributions... consider this a request for same. Send 'em in. I do have a Black Jack move... supposedly used under fire...that is a devastating move, in my opinion.

The contributor is anonymous...hope I have the space to run it soon. Problem is...I have lots of TERRIFIC magic; I'd like to run them ALL right away...they're that good. Obviously, can't do that...have to space them...some appear in each and every issue.

Quite a few dealers tell me that Apocalypse outsells every other magic magazine - over the counters! That's better than a kick in the head!

As you've probably noticed...there's been a change of art director for Apocalypse. This change is not because of any lack of artistic ability on Bill Steinacker's part. He's excellent, and worked hard for me. I think so much of his work that even though he lives in Baltimore and I'm in Manhattan...1 wanted to use him. The distance just became too much of a problem for both of us. No need to fret, however...as you can see, Greg Webb is an outstanding artist.

APOCALYPSE i.s published every month by Harry Lorayne, at: 62 Jane St., New York, N. Y. 10014.

All checks are to be made payable to Harry Lorayne, and mailed to him at that address.

Individual issues - $3.00 each Subscription - $30.00 per year

Overseas subscription - $33-50 surface mail (U.S.A. dollars only) - $39.00 air mail - $40.50 airmail to Australia, Japan, So. Africa, etc.

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Lofayne's VOL.2 N0.8

THREE DOLLARS

A U G U S T , 1979

pocalypse ŠCOPYRIGHT 1979 \>y H . L O R A V N E . I n c .

ISSUE NO. 2 0

I call this "Choice" Aces because you give your spectator a choice as to how to end it.

First, you have to apparently lose the aces into the deck. What you really do is to get them together, and reversed, about a quarter of the way up from the bottom. I'll describe Eddie's way of doing this, then we'll get to the choice of endings. (Eddie Fechter died on March 31st, 1979 - magic has lost a good friend.)

Display the aces, then insert them into the outer end of the deck, one at a time. Let them protrude about an inch to an inch and a half. There should be a block of at least fifteen' cards at the top, above the top, protruding, ace. Also, ask the spectators to remember the order of the suits, from top down, as you

Eddie Fechter

insert them. (This isn't really necessary, but that's how Eddie does it.) You have to remember the order also. Easy enough; place them in CHSD, or DSHC, order.

Hold the deck from underneath at your left fingertips; forefingertip at the ace ends. Your right fingers grasp the other end in Hindu Shuffle position. (See Fig. 1.) Note the position of your right forefinger.

To apparently lose the aces, it appears as if your left forefinger pushes them into the deck as your right hand cuts or shuffles (Hindu) the deck. What really happens is this: Your left thumbtip rides some of the top cards

(about half the block) toward the ends of the protruding aces. Your left forefingertip remains on the ace ends, for leverage and to help with the illusion of the aces being pushed in.

As the inner end of the top block of cards clears your right forefingertip, that fingertip moves the block slightly upward. This is to create a space to allow your left little finger to enter - above the four aces. (See Fig. 2.)

The same thing would be accomplished by simply moving the inner end of the deck proper downward with your right hand.

All right; strip out the left-hand cards, your left little fingertip automatically remains between the aces and the top block. Your right hand either places all its cards onto the left-hand cards, or Hindu Shuffles onto them.

In either case, you end up with the aces at the bottom, and a break above them.

Riffle up at the inner end of that half with your left thumbtip, to about halfway, and place the right-hand half into the space thus formed. (See Fig. 5.) Square the deck. The aces are face up at bottom. Pick up the deck and cut about a quarter of the cards from top to bottom. You're set for the ending.

Without pausing, take the deck from above, closer to the right, with your right hand, transferring the break to your right thumbtip.

Tell your spectator that he has a choice.

"Would you like me to find the aces up, or down?" As you talk, casually hold the deck with both hands so that a long side points toward the tabletop. The reason for this is that it will appear natural for you to turn the deck either way - face up or face down.

Your left hand also grasps it from above (See Fig. 3) and takes the top half.

Immediately turn both hands downward (away from each other) so that the halves are almost face to face. (See Fig. 4.) Your left fingertips immediately take (steal) the broken aces and your left hand places its half face down onto the table. Don't release it.

If he says, "Up," turn the deck face down; the aces are face UP. If he says, "Down," turn

Published .written and edited by

Art director: â&#x20AC;˘230-

GregWebb

the deck face up; the aces are face DOWN! Now ask, "Would you like me to find them all at once or one at a time?" If he answers, "All at once," cut a quarter of the deck either from top to bottom or rear to face, according to whether the deck is face up or face down, to get the aces to approximate center. Then do a wide ribbon spread on the table, exposing the four aces.

The more impressive ending is when the spectator answers, "One at a time." In that case, cut the deck near center and do a FARO SHUFFLE. It is only important that the aces interlace properly - and they're now automatically near center. Place the squared deck onto the table - face up or down, according to his choice. Ask him if he remembers which ace was on top when you originally placed them into the deck. If he doesn't remember, tell him.

Now, you'll cut at the ends to THAT ace.

You have to cut according to how the aces lie.

For example, if they were originally placed in CHSD order, with the AC on top, and if the spectator wants them "up," the deck is face down. But - the AC is now the lowermost faceup ace .

If the aces were originally placed the same way, and the spectator wanted them "down," the deck is face up, and now the face-down AC is uppermost. Do the faro, then cut accordingly. You'd cut the AC, then work slightly downward. Either way, it is really MOST impressive.

Cut lightly, at the ends, near where you know the AC should be. Because the aces are reversed, a light cut (lift-up, actually) will, or should, cut right to them. The ace will appear face up on the lower half. If it doesn't, it's at the bottom of the lifted half. Pull it out with one finger. It's impressive either way. (See Fig. 6.) Toss the ace to the table.

Continue by asking for the next ace, etc., and cutting to each. For the AH, simply cut right near where you located the AC. Keep working slightly upward. (This, of course, is why you'd ask the spectator to remember the order of the aces when you lose them.)

Bill Voss

Afterthoughts: The original control, from the time the aces are apparently pushed into the deck until the right-hand half is placed into the end-thumb-riffled, tabled, left half should be a smooth, flowing, action.

As I've said, the "one at a time" ending is more impressive. Some practice will give you the "feel" of cutting to the correct ace each time. You may decide not to give the spectator a choice and simply go into the acecutting ending. The only choice you'd give him is "up or down." I've explained it exactly as Eddie presents it.

Relentless

What a good routine this is! You'll need four half dollars (silver), four English pennies (copper), and one silver/copper coin.

You'll also need the ability to do two moves, one is Bill's variation of a known sleight, and the other is Bill's own sleight. Oh, you also need to be able to classic palm a coin - plus some practice.

I think it would be better if I explain the two necessary moves before I teach the routine. The first is Bill's variation of Bobo's coin switch. A hidden coin rests on the 2nd and 3rd tips of your curled right fingers.

(See Fig. 1) for your view.

gers open SLIGHTLY allowing the hidden coin to leave your hand.

Pick up a coin from the table with your right first finger and thumb. (See Fig. 2.)

It appears, now, as if the picked-up coin js lightly tossed, horizontally across, from right to left hand. Of course, you simply retain the picked-up coin as your 2nd, 3rd, and Uth fin-

AS you release the hidden coin, your hand turns in a (and to a) palm-down direction. This causes the hidden coin to do a half turn as it falls onto your left palm. Actually, the opening of your right fingers causes the flip-over.

(See Fig. 3. )

Remember - if you Xerox this magazine, you lessen its worth to YOU!

â&#x20AC;˘23V

When ready to do the move, your hand does a slight upward and outward movement AS you release the palmed coin AND allow the four-coin stack to slide off your fingertips. BUT- you will find that with just a bit of practice, and the proper movement - slant - of your hand, the lowermost of the stacked coins will REMAIN on your fingertips. (See Fig. 5-) Don't try to hold it - it will stay put on its own. Think of it almost as pulling that lower coin AWAY from under the others. And, the palmed coin is released at the SAME time.

One or two tries will do it. It's a good move. And, it appears simply as if you've "dumped" the four coins with a SLIGHT flourish.

I'll call this the Voss Toss.

Remember; it isn't just dropped into your left hand, it's lightly TOSSED ACROSS. As soon as the coin leaves your hand, the slightest movement (to the right) of your thumb places the (now) hidden coin back onto your 2nd and 3rd fingertips. This is important because, during the routine, you'll be switching two coins in a row a couple of times. I'll call this the "switch" when I describe the routine.

Now - the routine. The gimmick (coppersilver coin) is classic palmed, silver side out, in your right hand. Bill starts by holding the stack of eight alternating coins. If you can do the one-hand, table, interlacing of the silver into the copper coins (poker chip handling), do so. Or, simply sort of "riffle" them together. Bill then asks which the spectator prefers, silver or copper. He'll usually say, "silver" - not that it matters; what he answers is immaterial. Let the silver coins fall from between the coppers onto the table.

The coppers are slightly wider than the half dollars, which is what makes this possible.

(See Fig. 6. )

Now, for the "Voss Toss." This is used when you're holding four visible coins and you have to switch ONE of them for a palmed coin.

The hidden coin is classic palmed in your right hand. The four tabled coins are picked off the table with your right thumb and fingers and held, stacked, on the tips of, again, your 2nd and 3rd fingers. Your hand is turned inward, hiding the coins from spectator view. (See Fig. k.)

Hey, thanks for all the marvelous letters, calls, remarks, about my latest...QUANTUM LEAPS. One letter said that "it's definitely your "beat book, and that's something, because all your books are 'the best.' I know that the material in QUANTUM LEAPS will keep me happily involved for years - and all the material is easy, practical, and workable!" Sorry, had to mention it... makes it all worth while. $2?.50 plus $1.25 gets you your copy - the linking card routine is worth many times the price...according to some fan letters. What in the name of magic are you waiting for!? (End of sales pitch.)

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Do exactly as before - switch the gimmick, then a silver - then toss in the remaining copper and silver. Get the hidden coin to classic palm. Pick up at right with a copper lowermost. Do the display, showing three coppers and a silver on the left, and three silvers and a copper on the right.

The silver coins are at your left, coppers at your right. (This isn't crucial; you can arrange "left and right" to fit your handling.) Using "both hands, turn over each coin.

This is to show that they're normal coins; do not say so, of course. The patter throughout is basically explanatory, verbalizing how many of each coin is on each side, each time.

Bill handles the last double switch differently. First, toss the gimmick into your left hand, switching it. Then toss in the one silver, switching it - followed by the other two coins. Stack and hold the coins, from above, between your left thumb and second fingers, as in (Fig. 8 ) . The silver coin is on top. It might be easier for you to get that silver on top of the stack if, for this last time, you toss the two regular coppers first, then switch the gimmick, then switch the silver.

As you talk about the coins, let the palmed coin fall onto your fingertips, to "switch" position. It will be copper side up now. With your right fingers, pick up one silver coin, toss it onto your left palm, doing the switch.

The coin lands silver side up. Without pausing, toss the remaining silvers onto your left palm. "Four silver coins." Pause to display for a beat; then slap the coins on the table.

That is, your open left hand turns palm down onto the table; the coins are under your hand.

This has turned the gimmick to copper side.

Your right hand moves slightly upward in a sort of "wind-up" movement prepatory to picking up the copper coins. It's during this tothe-right, and slightly upward, movement that you move the hidden coin from fingertips to classic palm. This should be no problem, since the coin is at the position you'd usually have it to bring it up to classic-palm position.

Pick up the four coppers, getting them to position for the Voss Toss. Say your magic words, or what have you, and remove your left hand from its coins as you do the Voss Toss with your right hand. (See Fig. ?.) There are now three silvers and one copper at left - and three coppers and one silver at right. The retained coin remains on your fingertips - (it does so each time you do this sleight).

The patter is, "I've been unfair; I've been covering the coins. This time I'll leave the silver on top and I won't cover it." Pick up the right-hand coins, etc. Be sure the copper is lowermost.

Say, "Watch!" and let the left-hand coin stack fall to the table (it's held about three to four inches above the tabletop). But - release with your thumbtip only. This causes your second fingertip to "hold" for a fraction of a second which, in turn, causes the stack to TURN OVER as it falls - exposing four coppers.

Do the Voss Toss with your right hand, exposing four silvers. Bill does these two things simultaneously. At first, it may be easier for you to drop the left-hand coins a second before you do the Voss Toss with your right hand. Simultaneously is more magical.

The routine is over. Pick up the gimmick, toss it into your left hand, switching it.

Pause, then hand the coin to your spectator, as you say, "Perhaps you'd like to examine this, and the other coins." You're clean.

Pick up the copper at left (the gimmick) and toss it onto your left palm, switching, it.

Pick up any silver, toss that onto your left palm, switching it. You've done the switch twice in a row. (When you toss and switch the first copper, you can pause to show its other side.) Toss the remaining two silvers onto your left palm - one at a time.

Afterthoughts: This is called Relentless because it is. It moves directly to the ending; the spectator hasn't got a chance! Follow my instructions and it will all work as it should. Of course, practice and familiarity are necessary.

Bill sometimes does the very first switch on the table instead of as he tosses. It's done as he turns over the silver coins, showing their other sides. Let the palmed coin fall onto your fingertips as for the regular switch.

As your left fingers turn one coin (a beat before your right hand does its turn), your right fingers turn and switch another.

Do the same actions as before - left hand palm down onto the table. Get the hidden coin to classic palm. Pick up the three coppers and the one silver at your right, making sure that a copper is lowermost. Do as before - remove your left hand and "Voss Toss" with your right.

There are now two and two on each side.

This is a good time to tell you that the copper side of the double-sided coin has to have a distinguishing mark on it so that you'll know which it is. Bill keeps it a bit lighter than the other coppers.

Your right fingertips turn from the coin's outer edge, toward you. Simply retain it as 233-

of the routine becomes a natural feeling and action - so does the slight gesture that may be necessary to bring it to classic palm from its fingertip position.

Give this routine the practice it surely deserves.

you let the hidden coin fall to the table. It lands silver side up, as it should. Pause.

Then continue by tossing the switched coin onto your left palm - then continue as described.

After a while, the fact that the hidden coin rests on your right fingertips during most

Bruce Ikefugi

Lightning Stab Change

This is an interesting ending for a takea-card effect; or, it can be used to find the last ace in a four-ace routine. It has many uses.

This is a rapid "one, two" beat. One feint, and do the move. No pauses. You might count "one, two" as you do it. It's a stunning change; so stunning, that it will take a moment for it to sink in.

You're seated at a table, opposite your spectators. You've controlled a selected card to the top of the deck. Do a double lift, placing the double card face up on the deck for a moment. Either hold a left little finger break beneath them, or injog them. State that this is the selected card. Of course, it isn't.

As soon as you've done it, start to lift the portion of the deck above the inserted card as if to show the card directly above it. Stop, with a confused look, and say, "Wait a minute.."

As you gaze at the inserted card. By this time, the change will have registered on your viewers.

To end, grasp the card(s) at its lower right corner; thumbtip on the face, first and second fingers beneath. Your thumbtip should cover the indice at that corner. Hold the double card this way as your left hand places the deck about three inches from the table edge - a long side toward you.

Keep your left hand on the deck; forefinger curled on top, and thumbtip ready to riffle up the lower right corner. Say that you'll use the, say, 3H (the exposed card of the double) to locate the correct card. Prepare to insert (stab) the double card into the deck as you riffle up the deck's corner. Your right hand moves the double card toward you and slightly (and diagonally) downward - in a sort of "wind-up" action, preparing for the "stab." (See Fig. 1.)

Afterthoughts: What you have to be careful of is tossing that card against your chest or stomach when you lap it. If you do that, it will bounce around and probably be seen. That's why the downward movement of your right hand is essential. The card flies directly to your lap.

The rearward (wind-up) movement is difficult to explain. There's nothing strange about it; it's a natural action prior to a quick forward movement. Just don't forget the diagonally downward action.

Experiment with the distance of the deck from the table edge. I've done it with the deck five or six inches from the edge. If your windup movement is done properly, the lapping is invisible, and the change is a "gasper."

Stab into the deck once, then come right out again going directly into the "wind-up" action again. This time, as your hand moves rearward, and downward, your right thumb simply catapults the face card of the double into your lap. (See Fig. 2.) There is absolutely NO pause. Continue with the forward motion, stabbing into the deck. Release the card. It should protrude from the right end of the deck.

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Ken Krenzel

Perfection

Transposition

This was originally called "The Double Chien" (pronounced, "chin") - because it entails doing the Han Ping Chien move twice; one immediately after the other. The idea should be used as part of a routine - and it's a fooler. It really is an instant magical transposition of two coins. What you have to make sure of is that your spectators know exactly where each coin is before the transposition occurs.

Display the two coins, one on each palm.

Let's assume that there's an English penny on your left palm and a half dollar on your right palm. When you close your hands into fists, the right-hand coin (half dollar) will go into classic palm; you may want to have this coin already in proper position as you display both.

If, with proper timing, you do a SLIGHT to-the-right (jerking) movement with your left fist, as you release with your left little finger, the English penny flies to the table, UNDER your open right hand. (See Fig. 3.) Move your right hand back to the right a bit to let the coin be seen.

Close both hands into loose fists as you turn them fingers down (backs up). At this point, I'd suggest that you ask your spectator which coin is where. Lock it in; show them once more.

Close your hands into fists, turning them backs up, again. "Remember; the copper coin is here (indicate your left fist) and the silver coin is here (indicate your right fist)."

Stick out both thumbs so that their tips just touch (or almost touch); you might give them a bit of a wiggle. This is your pre-miracle gesture. (See Fig. 1.)

The slight movement of your left fist is invisible because of the larger movement of your right hand. "You see, the copper coin is here." Done correctly, this will fool other magicians. Particularly if you hold your left fist as described - it allays suspicion of its coin leaving. This handling of the Han Ping Chien move is Geoff Latta's.

With your right fingertips, pick up the copper coin, displaying it. Your right hand remains palm down. (See Fig. k.) As you say, "And the silver coin is here," both hands move simultaneously. Your left hand turns down, opening, as if tossing its coin to the table.

You're about to do the first Han Ping Chien, showing that the English penny is now in your right hand. It appears as if your right hand opens, dropping its coin onto the table.

But, just before you do that, turn your left fist fingers up. The little finger side is tilted (about a ten percent tilt) toward the tabletop. Give the hand a shake or two, allowing its coin to slide to the little finger. The coin should be held (loosely) by just the tip of that little finger. You may have to exaggerate the bend or curl of your fingers in order to accomplish this. (See Fig. 2.)

As you say, "Watch!" your right hand, with a slight tossing motion, turns palm down and opens as if dropping its coin to the table - it moves to the left, of course. The silver coin remains in classic palm.

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It moves partially under your open right hand. Your right hand releases its palmed coin so that it falls UNDER your open left hand.

Your right hand is already moving to the right, turning palm up. Move your left hand to the left to display the coin it apparently just dropped. (See Fig. 5-)

The transposition is completed.

Afterthoughts: Get the timing right, and this IS an almost-perfect transposition. It can't be followed.

Ken has worked out a handling for doing the same thing three or four times in a row.

That is, you start with, say, four of each coin in each hand. You have to drop only one coin out of your right hand, as the others remain in classic palm. Obviously, one coin must be prepared, moved, ready to drop, each time.

Your left hand can pick up one (say, copper) coin each time - then do the transposition. Or, work at doing it while both hands hold more than one coin.

I prefer the one-coin-in-each-hand transposition. That's completely open and "clean" more so than it can be with multiple coins.

Eric Mason

"Misery Momentarily bring the right-hand four-card packet onto the deck as you ask your spectator if he'd like to change any of the four cards.

(He may.) As you do, steal the deck's top, separated, card to the bottom of the packet.

Your right first and second fingertips simply take the card at its inner right corner. Immediately move the packet away from the deck.

Eric fooled me with this when he showed it to me in London. And, I've fooled most other cardmen with it - and my own variation of the move, which I'll describe later.

Have the, say, four queens on top of the deck. Shuffle, keeping them there. Spread the deck from hand to hand and let the spectator remove any four cards. If he happens to reach for one of the queens, let him take it. (I'll discuss that in the Afterthoughts.) Tell him not to look at the cards he removes.

This is all done in one split-second gesture, as you ask your spectator if he's satisfied with the cards he's removed. And, of course, it's the reason for separating that top card.

As you square the deck, secure a left little finger break beneath the four queens. Easy enough; spread the top four cards a bit more than the rest of the cards. Reach for the four indifferent cards - which are either in the spectator's hands or on the table, according to your presentation - with your right hand. As you do, slightly push off the top card (queen) of the deck with your left thumb so that you can get a momentary break beneath it with the tip of your left third finger as you pull it back to "square" position.

With your left first fingertip, aided by your left thumb, pull out the bottom card (just stolen queen) of the right-hand packet. The deck is still being held in your left hand.

(See Fig. 2.)

As you do this, maintain the little finger break. You have the break beneath the top four cards, and you've just separated the top card.

The four indifferent cards are held, face down and squared, near their inner right corners by your right thumb and first and second fingertips. (See Fig. 1) to see positions in both hands.

Turn over your left hand, placing the face-up queen onto the right-hand packet; place it stepped to the RIGHT. It is important to do it just that way. Your left hand must turn over to turn the queen face up - this "sets" the move that follows. (See Fig. J.) Note that the face-up queen is held in place by your right thumbtip.

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When you turn up the queen, make a remark about it and turn your left hand back to position. The right-hand cards rest on top of the deck. Now, the next action is when (and where) the "work" is done. You're simply going to turn that queen face down onto the right-hand packet, and then turn the (next) bottom card of the packet face up. (See Afterthoughts.)

That's exactly what it looks like.

What you really do is TOP CHANGE the four indifferent cards (in a block) for the three("broken") queen packet. This action is completely covered, and doesn't have to be done quickly.

Let's backtrack a bit. As you turn the queen face up, your left hand turns down again and the right-hand packet moves to rest on the deck. You're momentarily showing the queen.

Your right second fingertip goes into the break. (See Fig. 4.)

Afterthoughts: At the end, as you show the queens - first one, then two, then all you might act surprised, and say, "You're a better magician than I am."

It will take a few tries before it "locks in" and starts working smoothly. As an aid toward that smoothness, try this: Place the right-hand packet onto the deck, after you've turned up the first queen, just SLIGHTLY outjogged - no more than a margin's width. As you do, your left forefingertip, which is curled around the outer end of the deck, moves under the packet. It's between deck and packet. This will facilitate the simultaneous turn-over of the face-up queen and the face-down indifferent cards. The packet will move away with your left hand more cleanly. As your left hand turns, remove that fingertip allowing the indifferent-card packet to flush with the deck.

Now, from here, your left hand turns the face-up queen face down. It really does. But in doing so, it takes along the four- (indifferent) card packet. The three queens stay put; held by your right first and second fingers. (See Fig. 5) to see this starting.

The indifferent cards coalesce with (onto) the deck as your left thumb pushes the (now face-down) queen onto the right-hand packet.

It is pushed under your right thumbtip. The way the queen was originally placed when you turned it face up facilitates this. Without pausing, your left fingers remove the bottom card of the right-hand packet, just as before.

Turn your left hand inward to show this queen.

Keeping it between your left first finger and thumb, turn your hand back and take the next bottom card of the right-hand packet.

If your spectator selects one of the four queens at the beginning, simply break only three cards as you square. Make sure that the queen is at the bottom of the four removed cards. You don't have to break the top queen, nor steal it - your spectator has done it for you. Continue as explained.

The sleight can be used to change five cards, of course. Perhaps to change, say, a heart royal flush to a spade royal flush. The steal of the top queen to the bottom of the indifferent-card packet must be clean. It's done

Turn your hand to flash both queens. (See Fig. 6.) Then turn over your right hand to show the other two. You're displaying all four queens. (See Fig. 7.)

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and its packet (it appears as if it's moving with only the face-up queen) away from you.

Of course, your left hand is moving with the entire deck - the face-up queen is on it. Look at figure 5 again. The indifferent cards coalesce with the deck as you deal the face-up queen onto the table.

instantly, during a gesture.

This is as clean a change of four cards as I've seen. Get it working right and see for yourself.

When I originally showed this to a few of the "boys," Ken Krenzel said that one thing bothered him. Why turn the first queen down again after it has been turned face up? He thought that was illogical. Although I don't entirely agree, I did think about it.

That's it; the change has been accomplished. Move your left hand back to your right hand and take the bottom card of the right-hand cards. Turn it face up and deal it onto the first tabled queen. Now come back to your right hand again, take the bottom queen, and turn it face up as your right hand turns its queen face up. Drop both of these onto the tabled queens.

I came up with the following, which eliminates the turning down of that first queen.

It also makes the move more direct. You decide which you like better.

Do it exactly as described until you turn that first queen face up. Prepare for the top change of packets, also as described. But, instead of turning the face-up queen face down onto the right-hand packet, move your left hand

Jon Brunelle

Instead of dropping the queens onto the table you may prefer to deal them onto a spectator's open hand.

Untouched

Here's an interesting coin interlude in, basically, Jon's words: Effect: The magician freely displays a half dollar and an English penny, then gives a spectator the half to hold while he spins the penny on the table. Untouched by the performer, the color of the spinning coin begins to change, and when it settles it is found to have been transformed into a half dollar. The penny is found in the spectator's hand. Both coins are passed out for examination.

Requisites: One half dollar, one English penny and a specially prepared double-faced copper/silver coin. What you have to do is to machine or file the edge of the gaffed coin so that it has a slight downward bevel toward its COPPER side. (See Fig. 1, in which the bevel is exaggerated.) The routine should be performed on a smooth tabletop without a tablecloth.

ceal the half in the palm, simultaneously turning your left hand up to catch the penny. The double-facer and the penny appear to your audience as the straight coins they saw a moment ago.

Immediately gesture to a spectator with your right hand, asking him to hold out his own right hand, and place the two visible coins onto his palm. Tell him to close his fingers around the coins and to turn over his hand.

Patter as follows: "You may have heard of the phenomenon called psychokinesis, the power to move objects without touching them. The difference between this and simple physical movement can be easily demonstrated. This is physical movement..."

As you say this, perform the standard feint of removing the gaffed coin, copper side up, from your assistant's hand with your right fingers.

He'll believe that he still holds the half dollar, but he's holding the penny, of course.

Say, "You could see and feel me do that." (The patter justifies the actions, which otherwise would be senseless. Why give someone two coins and immediately take one back?)

"I have the penny. You have the half dollar - please hold it tightly. THIS is psychokinesis." Prop the gaffed coin on the table at a perpendicular angle and hold it there with your left first finger, the copper side facing your assistant. (See Fig. 2.) Tell everyone to watch carefully, then set the coin spinning by tapping it with your right forefinger. At first, the color of the coin will be an indefinite blur, then will oscillate between copper and silver for a couple of seconds before it begins to settle. Because of the bevel in the coin's edge it will stop with the silver side up. If, during the spin, you call attention to the fact that you're not touching the coin while it is being transformed, you'll have performed a rather striking color change.

Preparation: Classic Palm the doublefacer in your left hand, silver side out.

Performance: Show both the regular coins in your right hand, turning them over with your left fingers and moving the half into a position preparatory to the Classic Palm. Comment on the coins, then perform a Shuttle Pass (or Utility Coin Switch) tossing the penny into your left hand while retaining the half dollar in right-hand Classic Palm. You should turn over your right hand during this move to con-

Pick up the gaffed coin with your right thumb and forefinger to display it, and state that you now have the silver coin. Ask your assistant to open his hand, and the moment all

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Comments and credits: This is one of those things that one feels silly for not having thought of earlier. It seems very magical to lay people, and magicians are entertained just by the novelty of it. The bevel idea is adapted from an old head-or-tails force used in bar bets.

eyes are on the penny, switch the gaffed coin for the palmed half by drawing the double-facer into right-hand finger palm as you allow the straight coin to fall onto the table. This should be done in a tossing action, as if you are throwing the coin to the audience for examination. Let them look at the coins and then take them and drop them, with the gaffed coin, into your pocket. If you've performed the routine correctly, no one should suspect anything extra and there will be no need to get rid of the gaffed coin any earlier.

Afterthoughts (HL): A similar idea had been mentioned to me by Mark Levy - although he did not utilize the filing-down idea. The combination, and the routine, is Jon's.

A Lorayne Storm Has this been in print? You talk about palming - without exposing the concept. "I do it a bit differently." As you talk, do a double lift and hold the two cards, as one, showing its face.

"For example, if I wanted to get this (name the exposed card) into this pocket..." demonstrate by placing your right hand, and the double card, under your jacket, to your left sleeve opening. Leave the exposed card between your shoulder and sleeve and, without a pause, come out with the remaining FACE-DOWN card. "...I'd do it like this." Place the face-down card to center, and cut and shuffle the deck.

"I'd know, because of years of practice, just where it is." Do a magical gesture, snap your fingers, riffle the ends of the deck, or what have you. "And, after those years of practice, I can invisibly palm that card into my pocket."

Thrust your obviously empty right hand under your jacket, and bring out the correct card!

I know, I'll be accused of exposing the "palming" concept. Nonsense! I've used this since childhood, and still fool the audience with legitimate palming. Eelieve me, laymen already know about palming!

NEXT MONTH Jean-Jacques Sanvert's Colorful Sandwich Gene Cosnoski's Beer Bottle Polka Bob Fitch's "Circles" Ron Ferris' Ribbon Candy Mike Bornstein's Clip-Joint Bill Morales' Myriad Cut plus.

Ellipses (...)

Thoughts from the last Fechter's close-up gathering at the Forks Hotel in Cheektowaga, N. Y. Larry Jennings is a smoooooth close-up worker; Tom Ogden broke 'em up, he's a funny man; Tom Mullica is too much - he's also a little crazy. John Cornelius performed his Cornelius Card System. What a fooler, and no memory work. Retails for $5.00...it's good. Allan Hayden did about the funniest piece of juggling I've seen...with a "third hand in his pants." The invisible thread of Howie Schwarzman's invisible matchbox pulled him right over the table onto the floor crash! Phil Willmarth fooled me with some large ring and rope work. Tom Gagnon full of ideas good ones. Mike McGivern has a pretty ring-off-rope release...you'11 see it here. Ray Mertz fooled all with a cup and ball routine done with coins and giant cards! May appear here in the future. Joseph Mogar can really handle those thimbles. And Marv Long "took me in" with a "sticky card" routine - which will also run in Apocalypse. All in all, a fun weekend...with no sleep. *** Magicians are nice people: When I started doing promotion-publicity tours for my books (for the public), I enjoyed them. I like people (generally) - and I had to meet lots of them and I like traveling, seeing new places. I still enjoy it, but after doing a few of them, I've seen most cities, and it has started to become hard work.

Let me give you just a vague idea of what a promotion tour is like. The length of the tour is up to the publisher - how much they want to spend - and also up to me - how long I want to be away from home.

In each city, I'd have a minimum of seven committments - TV appearances, radio shows, newspaper interviews, and bookstore appearances (autographing). Usually, I'd fly into a city in the evening - sometimes early evening, usually late at night - according to the committments I had in the city I was coming from.

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Sometimes, I'd have to go directly from the airport to a TV or radio station for an evening show. Sometimes I'd go to my hotel first; then I'd have a late talk show appearance. These appearances could run into the early morning hours. On my last tour, I did a TV show at two in the morning - during a late movie (in Houston, Texas).

Then, a couple of hours sleep, because the first thing in the morning is usually an "AM" TV show. They're the important local shows - Chicago AM, Cleveland's Morning Exchange, AM Pittsburgh, AM Dallas, The Morning Show in San Francisco, etc. My report time for these can be anywhere from 6AM to 8AM. From there, it's running like mad to make all the other committments.

Quite often, distances between appearances create heart-in-mouth taxi or limousine rides. The publisher's promotion department keeps calling me during the day (or evening), filling in more appearances. (Once, in San Francisco, I think, I had sixteen committments in one day - four TV shows; six radio shows, some live, some taped; three newspaper interviews, and three bookstore appearances.)

Then, it's either rush to the hotel to change, check out, and get to the airport to catch the flight to the next city - or; if it's been too tight a day, I'd have checked out of my hotel earlier, lugged my suitcase and garment bag along to the last few committments, changed clothing at the last one (if I had the time) - and rush to the airport from there. This is because there would be no time to get back to my hotel after my last appearance - not if I wanted to make the flight.

So - I'd arrive, breathlessly, at the next city, and it starts all over again.

For my latest book (for the public), THE MAGIC BOOK, I did an l8-city-22 day tour. Somehow I found the time and energy to meet with magicians here and there. (I even did a lecture for a magic group in Cleveland.) In Boston, until 5AM with Phil Goldstein; in Baltimore, until kkM with Howie Schwarzman; in Toronto, until 5AM (I had an 8AM report that same morning - for a sixhour memory seminar I was running) with Sid Lorraine, P. Howard Lyons, Tom Ransom, Allan Slaight, et al - and more.

Two really nice things happened on this tour - in Detroit and in Denver. I got into Detroit quite late at night. I wanted to say hello to Milt Kort - so I called him. He said, "Come on over; I'll call some people." I said, "I'm wrung out, and I haven't eaten yet." He said, "So you'll eat here." He picked me up, drove me to his home in Birmingham, Michigan. His wife and daughter cooked and served me royally. Then we had a magic session.

My schedule for the next day was a rough one - particularly since the Detroit area spreads all over the place. I had appearances all over the map, including two in Windsor, Canada. I showed my schedule to Milt and the others, to ask about times between committments; to figure out the best way to make them. It looked as if I'd have to miss a few of them.

Ron Bauer, one of the magicians there, said, "Harry, I know the area like the back of my hand. Why don't I pick you up in the morning, and drive you around?" He did - in his Lincoln Continental. He picked me up at my hotel (I had breakfast ordered for him) at 7AM, and drove me from and to each of my appearances - and got me to the airport on time. He spent the entire day with me.

Later on in the tour, I got to Denver somewhere around nine in the evening - to find that there was a taxi strike in town. There were NO taxis working! I managed to get to my hotel from the airport. I had a 10:30PM radio show to do. Fortunately, the studio was in walking distance from the hotel.

My problem was the next day's committments - I had about eight appearances - again, spread out all over the place. Before I went to my radio interview, I had to work this out. I was going to call some limousine services to try to make some arrangements. But I wanted to call Ed Schuman, an old friend, before it got too late.

I called to say hello, etc., and mentioned my problem. I said, "Hey, is there a magician in town who's free tomorrow and would like to earn some money?" Ed said, "No problem. Let me make a few phone calls."

He called back in about ten minutes to say that there were four guys who'd just love to chauffeur me around. I said, "Great; and I want to pay them, of course." He said, "Harry, you don't understand. They feel they want to pay Just teach them your Ultra Move, etc."

Roland Ives, a local magician, picked me up at 7:3째 in the morning and chauffeured me around all day. He helped me make all eight appearances and got me to the airport in time to make my flight to Dallas, Texas. And he. thanked me!

Magicians are nice people.

APOCALYPSE is published every month by Harry Lorayne, at: 62 Jane St., New York, N. Y. 10014.

All checks are to be made payable to Harry Lorayne, and mailed to him at that address.

Individual issues - $3.00 each Subscription - $30.00 per year

Overseas subscription - $33-5째 surface mail (U.S.A. dollars only) - $39.00 air mail - $40.50 airmail to Australia, Japan, So. Africa, etc.

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*Hatty Lofayne's THREE DOLLARS

VOL.2 NO.9

SEPT.,1979

pocalypse ' COPYRIGHT 1979 by H. L o r a y n e , I n c .

ISSUE NO. 2 1

Jean-Jacques was intrigued with Trevor Lewis' "twist switch" turnover move in Monte Plus (Vol. 1, No. 6, page 67) and with Ken Krenzel's out jog improvement in Monte Plus Plus (Vol. 1, No. 7, page 81). He's utilized the outjog twist switch turnover in the following routine, which is NOT the usual monte "sucker" concept.

To set up: Use, say, a blue-backed deck; you'll also need a red-backed AS. Place the AC and (red-backed) AS face up on the table. The AS lies ON the AC. The AD is face up near the bottom of the deck, and the AH is face down on top.

The blue-backed AS is not used; get rid of it. You may want to put it into a sealed wallet, envelope, cardcase, etc., for one of the two endings.

I'll give you his basic routine, with two different endings. You'll have to supply the patter, presentation, and so on. I'd suggest you check the basic twist switch move and the outjog improvement, as mentioned, before you get into this. You may find a gem of an idea here .

Mention that the two black aces are magic aces. Force the AH on one spectator and let another spectator have a free choice. Use any force you like for the AH, as long as you don't expose the face-up AD. The fairly standard method of having the spectator cut a small

Jean-Jacques

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packet and turn it face up on top - then cut deeper and turn this packet over on top - so that the first face-down card near top is the selection, fits just fine. So; one spectator has selected the AH and the other, the (say) QS. As they look at their cards, cut the deck so that the face-up AD is brought to about center. Hold a left little finger break above it; easy, because of the natural break. Take the QS from the spectator and insert it into the center of the deck from the rear. Really insert it into the break, then double cut the QS to the top. This, of course, brings the faceup AD to second from top. (second from top). You may prefer to place the three-card fan onto the table, pick up the deck, get your break, and then pick up the fan again. Place the outjogged, face-up, AH flush onto the deck (your left thumb pulls it out of the small fan), and place the face-up black aces to the table (the AS is now under the A C ) .

Now take the AH and apparently lose that into the deck. It must be controlled to the top. The easiest way is to cut the top half deck into your left hand, have the AH placed onto that half, replace the right-hand half onto all and double cut (or quadruple cut) to the break. The Hindu Shuffle control also fits.

Any handling that puts you into this position face-down AH on top, then the face-down second selection, followed by the face-up AD, is fine.

Take the three cards above the break and fan them - displaying a "red ace" sandwich - a face-down card between them. Point out that the red-backed AH has changed back to blue!

As your right hand reaches for the tabled black aces, obtain a left little finger break beneath the top card of the deck. Let your spectators see that you're holding only the two black aces in your right hand.

Table the deck, and turn over the threecard fan. Turn it as when you did the twist switch, but DON'T do the move. The QS is seen to be sandwiched between the red aces.

Place the face-up QS between the tabled, face-up, black aces and table the red aces.

Pick up the three-card (black aces-QS) packet and outjog the queen. As you talk about the black aces being magical, do the twist switch turnover. "They can change the color of cards!"

You're showing a face-down fan; the center card, supposedly the QS, is now red-backed!

Hold the left long side of the black aces along the right side of the deck. (See Fig. 1.)

Flip them face down onto the deck - only blue backs are seen. Immediately lift the three cards above the break and fan them face down.

This entire sequence should appear to be a sort of "magical pass" of the black aces over the deck. The center card of the face-down fan is red-backed. It's quite startling.

You might continue the presentation idea of acting disappointed with the spectator.

First, he didn't select the fourth ace and, second, his card has changed to red, ruining your deck. This is up to you, of course.

Do the twist switch turnover again; the face-up QS is still outjogged between the two face-up black aces. Place the face-up queen to the table. At this point, Jean-Jacques stresses not to do an Elmsley Count with the facedown four aces to show all blue backs - he does not think that you have to prove anything here.

To end, talk about the QS having turned red, ruining your deck; but, by magic, you can straighten it out. Do your magical gesture over the face-up, tabled, queen - and slowly turn it over to show that it's changed back to blue .

Now, the strength of this idea. Place the deck onto the table. Outjog the red-backed card at center of the fan, and do the twist switch turnover move. You are displaying the first selected card, the AH, between the black aces. (See Fig. 2 . )

The routine is over; you can simply put all cards back into the deck - don't flash the back of the AS - and put the deck away. Or, devise any ending you like. (See Afterthoughts.)

It appears as if not only have you magically caught or sandwiched the selected AH, but that its back has changed color in the process.

Point this out, and act pleased that an ace was selected. Say to the other spectator, "If you selected the fourth ace that would be a miracle." Of course he says he didn't - act disappointed.

Pick up the deck with your left hand; secure a break under the two top cards. You have to be careful not to expose the face-up AD

Jean-Jacques explained one other ending that utilizes and shows the red-backed AS. Go back to where you placed the face-up QS between the face-up black aces. You outjogged the queen, then did the twist switch turnover, to show that the queen has a red back.

For this ending, place the face-down redbacked queen (really the AS) to the table. In

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backed QS: Turn over the supposed AS - it's now the QS. Slowly turn over the tabled redbacked card - it's the AS! (This is a DOUBLE transposition - place AND color.)

your hands you have the face-down blue-backed AC and QS; your audience thinks they're the two black aces.

Hold both cards, squared, from above with your right hand. Pick up the two red aces with your left hand, turn them face down and place them under the right-hand cards, holding a break between the pairs.

Immediately flip the top card (AC) face up and hold the two top cards with your right hand as your left hand turns the two lower cards (red aces) face up in place. (Easy, because of the break.) The three aces are now face up, the QS is face down second from top.

You can end here or, if you like, magically produce the blue-backed AS from wherever you "stashed" it before you started.

Afterthoughts: Play with this; decide which way you want to go. Properly presented it's strong. If you don't want to start with the two black aces on the table, have them on bottom of the deck, then simply deal them face up to the table from the face-up deck.

Showing a red back between two blue backs, during the sandwich disclosures is what's psychologically strong; it probably will "throw" other magicians.

Actually, you can do a "color" transposition for the first ending. That is, you don't have to do the proving with the Elmsley Count.

The QS is face up at the end, so are the four aces. Talk about the magical qualities of the black aces, particularly the AS. Say that you would rather the AS had a red back. Tap the face-up AS on the face-up QS - and turn them both face down to show the color transposition.

Since you have the odd-colored AS handy, you might think about arranging matters so that you can use Bro. John Hamman's Two Card Trick (Vol. 1, No. 3, page 32) as a follow-up.

Turn over the packet and do an Elmsley Count (last card goes on top) to show four face-down aces(?). Do the "through-the-fist" flourish, turning over the packet. Repeat that the black aces are magical cards, particularly the AS. "But, sometimes, the ace of spades can be obstinate; watch." Snap your fingers and immediately fan the four cards to show three face-up aces and one face-down card (on top).

"You see, all the aces magically turned face up, except that obstinate ace of spades."

Continue: "But, when it wants to, it can do great magic. Watch this!" Snap your fingers again, and show the magical transposition between the blue-backed AS and the tabled red-

William Morales

Myriad

Cut

tip maintains its break throughout. Your left hand takes the kicked-to-the-left portion, in the usual manner. (See Fig. 2.)

This is a multiple cut, in hands and on table, that sure does look as if it mixes the cards. It's done in one continuous flow of action of course, but I'll break it into steps for you. In my Afterthoughts, I'll mention a couple of additions or different handlings.

As soon as your left hand has grasped the "kicked" portion, your right hand moves to the table. Drop the portion below the break onto

Hold the face-down deck in your left hand, ready to do a thumb riffle-down. Riffle down at the outer left corner - about twenty cards.

Take this top packet, from above, with your right hand. Cut it to the bottom (it moves to the right of the deck) but injog it. (Fig. 1.)

the table; the remaining portion (above the break) is dropped onto the table to the LEFT of the first portion. (See Fig. 3-) your Drop pick onto

Re-grasp the entire deck from above with your right hand. Your right thumbtip pushes in the injogged packet, automatically taking a thumbtip break, at the rear, between the deck proper and the packet.

Without pausing, your right hand moves to left hand and takes the left-hand portion. it onto the LEFT tabled portion. Then up the right-hand portion and drop that the left portion also.

That's it. The deck is back in original condition. Pick it up, and continue with your miracle!

With as little pause as possible, "kick" cut a bit less than half the deck to the left with your right forefinger. Your right thumb-

Afterthoughts: I realize that this does not read to be that strong. Take my word for

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it - learn it and do it. It's completely confusing - and legitimate-looking - to the viewer. Of course, it should be done casually, during a routine.

Working with the basic cut, I've (as usual) added a touch or two. The first, is to do the multiple cut exactly as described but - as you reach for the left-hand portion, after you have placed the two portions onto the table grasp the left hand portion from above and swivel (or swing) cut it ONTO the left tabled portion. (See Fig. 4.)

The other handling, and the one I like best, is this: When you cut the right-hand portion into two tabled portions (as in figure 3), leave a bit more space between them. Now, place the portion still in your left hand onto the table between the two (or -swivel cut it to that position). Then, pick up the three packets from RIGHT TO LEFT. That is, the right-end packet goes onto the center packet, and this combined packet goes onto the left-end packet.

A swivel cut to the table is a false cut.

So, all you're doing is false cutting that left-hand portion. As soon as you've done so cutting onto the tabled left-hand portion your right hand places the right-hand (tabled) portion - assembling the deck.

Mike

Bornstein

If you find it a bit hairy to do the swivel cut with a small packet, "kick" cut a larger portion into your left hand (as in figure 2 ) .

This will make the swivel cut easier.

CliP-Joint

The effect is that a two-pronged paper clip is punched through a dollar bill and then moves across the bill without tearing it.

There are methods in existence that accomplish this effect, but that do not allow either the clip or bill to be examined. Mike's method does allow you to leave the clip and bill for examination - as a matter of fact, the bill may be borrowed.

It's the kind of routine that's easy to teach in person, but not so in print. I can only give you the basic handling, then you have to keep playing with it until it all falls into place.

You need a one and a half inch or two inch two-pronged clip, as sold in all stationery stores. To make the gimmick, you need a THREE inch clip. With a pair of pliers, bend the 3-inch clip so that there's a bend-slot formed just under its head, and so that it is now the same length as the shorter, regular, clip.

With the regular clip, punch a hole in a fairly crisp dollar bill. Punch it at the third digit from the left of the lower left serial number.

Fold the bill once lengthwise, then open it out flat again. This is just for easier handling during the routine; it isn't essential. (See Fig. 1.)

tip covers its head, and its prongs are between your first and second fingers under the bill near the FORK of those fingers. (See Figs. 2 and 3) for a top and bottom view. The thumb in figure 2 is slightly raised so that you can see the situation. In performance, the thumb completely covers the top of the gimmicked clip.

Held this way, on your right palm, the bill can move freely up and down, or left and right, through the gimmick - according to how you're holding the bill.

Display the bill that way and, with your left hand, show the regular clip, then place it into the hole at the lower left. Let go, so that it hangs - the head is larger than the hole, so it can't fall through.

When ready to perform, slide the "slot" of the gimmicked clip over the bill at the right of the lower long side. Your right thumb-

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Continue pulling, as your right hand turns fingers up - and your right second, third, and fourth fingers automatically contact, push to a slight angle, and cover the regular clip.

(See Fig. 6; in which I've spread and raised the right third and fourth fingers so that you can see the position of the regular clip. As you can see, in action, these fingers would completely cover it. In appearance, all you've done is to show the reverse side of the bill, and the long part of the clip. Of course, your audience now sees the long part of the gimmicked clip. The switch is instant, and good.

Move your left hand to the "holed" end thumb beneath the bill, fingers above. Your left fingers are about to cover the regular clip - so, place them near your right fingers.

Your left thumb covers the head of the regular clip, under the bill. (See Fig. ?.)

Now, here's the pretty, basic, switch.

It's one split-second, natural, action showing the other side of the bill. I'll break it down for you. Move your left hand to the right short end of the bill and grasp it with your fingers. (See Fig. k.) Bend that short end toward you and pull the bill through your right fingers - toward you. (See Fig. 5) to see this action starting.

Slightly raise your right fingers as you start to move the visible clip toward you. AS your right fingers raise, your left fingers go onto the regular clip's long end - covering it. Your left hand moves slightly downward a natural action as you pull the bill through your right fingers. This "switchover" must be done without fidgeting. (See Fig. 8.)

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When the gimmick is at about center of the bill, your right thumbtip moves backward just a bit, to expose the gimmicked clip's head, and both hands turn over, displaying the face of the bill. (See Fig. 9-)

10 of course, is hidden by your right fingers just as the regular clip was hidden at the first switch.

Ask a spectator to put his hand under the clip, under the bill, and either shake the clip out of the hole onto his palm, or push it down with your left forefinger, or tell the spectator to push it through and out. Pull the bill out of your right hand, with your left hand, and toss it to the table. The gimmick is left in your right hand - and you have plenty of time to pocket it as your spectators grab for the bill and regular clip!

Move your right hand, and the gimmick, in short jerky movements (as if you're forcing the clip through the bill) toward the outer end of the bill. When you get near the end, start moving it the same way, back toward your left hand. The stiffness of a new bill enables you to do this. (If there's any problem - as there may be with a borrowed bill - simply straighten your left first and second fingers, clipping the outer long side of the bill between them.

Your left thumbtip still covers the regular clip's head, of course.)

Afterthoughts: As I said, it's not an easy routine to describe in print. Keep at it, and it flows.

To do it with a borrowed bill, simply hold the gimmicked clip in position in your right hand. Borrow the bill and hold it in your left hand as a spectator examines the regular clip.

As he does, place the bill into your right hand and into the gimmick. You can then let a spectator push the clip through the bill - just tell him about where to do the pushing.

When the gimmick reaches about center, open your right second, third, and fourth fingers, under the bill, and cover the long part of the gimmick. This is the "switch back."

Simply turn over both hands, fingers up, also turning the bill. As this happens, move your left fingers to their end of the bill, and grasp that end. This exposes the regular clip.

(See Fig.. 10.) The long part of the gimmick,

Remember - if you Xerox this magazine, you lessen its worth to YOU!

Ron Ferris

Ribbon Candy

I thought that this was pretty obvious when Ron first sent it to me - but then, I fooled a couple of cardmen with it. I tried it for laymen and there's no question that they were badly fooled. Ron tells me that HE'S fooled some knowledgeable cardmen with it. And there are no sleights involved. I do throw in a couple of false shuffles and one faro shuffle but that's up to you.

your speech or gestures, whenever he likes.

He can say "stop"

Let's assume then that you deal for a while, always from left to right, and in the three-one pattern, and always overlapping downward - and then, you're stopped.

The deck must be set in alternating colors throughout. (Red, black, red, black, etc.) It can be cut (complete) as often as desired - by yourself and/or by a spectator.

At that point, you need a time lapse of about fifteen seconds. It's the "time misdirection" principle I've stressed in a few of my books. Place the deck onto the table, and talk. Stress the free choice of the "stop."

Ask if he'd like to change his mind, etc.

Start dealing cards onto the table, singly and face down, from the top and from left to right. They are dealt in a horizontal row the first three quite close together, and the fourth one to the right, leaving at least the space of one card's width.

Then, remove the top card of the deck (say it's the 9C, just for illustration purposes), turn it face up, and say, "All right, you stopped me at this card, the nine of clubs." As you talk, place it FACE UP onto the RIGHT column - the separated one.

Continue dealing onto these, four cards to a row, in a three-and-one pattern, overlapping downward. Tell a spectator that he can stop you whenever he likes, after you've dealt a complete four-card row. Stress that he's not to allow himself to be influenced by either

Pick up the deck and deal three more FACEUP cards, finishing that row from RIGHT TO LEFT. As soon as you've dealt these, table the deck again. Apply "time misdirection" once more. Talk for a few seconds. You might ask if your spectators could remember these four

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cards, and their sequence; if so, you'll turn them face down - but, you'd better not depend on their memories, and so forth.

right-hand, separated, column to show that they are all red; the spectator stopped you at the only black card!

Pick up the deck and continue dealing as you were before you were stopped - face down and from LEFT TO RIGHT. You might, as you start dealing, say, "You could, of course, have stopped me here, or here." Deal fairly rapidly now, until all cards are dealt. (See Fig. 1.)

The second climax, and the ending - turn up the other three columns. Again, it is seen that the spectator stopped you at a "singleton" color in each column. (In this example, from left to right, the columns will be all black, all red, and all black, except for the "stopped at" cards.)

Afterthoughts: You see of course that this is self-working except for the switch in dealing when you're stopped - from right to left instead of from left to right. The alternating-color set-up does it all. The "time misdirection" is important at the two mentioned points - to cover the switch in dealing.

When I do this routine, I have the deck set into reds and blacks. This gives more leeway for shuffling, keeping the colors separated.

Then I do one perfect faro, and I'm ready. I also do a fast face-up ribbon spread; the alternating set-up can't be spotted. Then, a cut or two - and into the routine. If your spectators believe that the deck is thoroughly shuffled, the entire thing is stronger.

For laymen, it's fine as is. For other magicians, you might try doing the same routine, except that, at the end, push the three left columns to the side, letting the cards mix. End by showing just the right, separated, column.

1

Try this routine; you may be surprised at the reaction it will receive.

Well, the trick is done. First climax turn up all the face-down cards (12) in the

Anonymous

I've Got Twenty^

I just love this piece of business. The contributor would rather not have his name mentioned. It seems, at least so I'm told, that this pretty little move is used under fire - by the dealer - in a Black Jack game. It can only be used in a game where two or more decks are being used (out of a shoe, usually) - so that it's conceivable, and normal, for the dealer or any player to get, say, TWO KH's in his hand.

It's the kind of thing he'd use once, or twice at the most, during an evening's play.

Done at the right time, and under the right circumstances, it "plays" and gets the money.

I'm not about to suggest that you use it in a real game; you might want to fit it into a routine, or use it as part of a gambling demonstration.

Now here's the move. Ordinarily, when it's time to play your hand, you'd use the face-up card to flip over the face-down card, as in (Fig. 2 ) . The move starts just that way.

BOTH cards, but - give them a bit more of a toward-you twist than you ordinarily would.

You toss, from the position in figure 2, a bit away from you and back - releasing the cards.

Your hand's return action is similar to, and looks like you were, turning over a sheet of paper, toward you, grasping its upper end. This causes the two cards to do a COMPLETE somersault as they fall to the table. (Fig. 3.)

And, some dealers don't just flip over the face-down card with the face-up card - they do turn both cards, legitimately showing the face of the face-down card. This move exactly duplicates that.

Slide the king under the face-down card, exactly as in figure 2 - then, without a pause, and as you say, "I've got twenty," flip over

There's really no way to describe the toss in print, but it's simplicity itself. Don't make a "move" out of it. The action of your

You're dealing a round of Black Jack; your first card is dealt face down. Your second card is dealt face up onto your first card.

This is the way it's ordinarily done. Assume your face-up card is the KH. (See Fig. 1.)

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and scoop in chips and cards, so that no evidence remains.

Afterthoughts: It takes only a try or two to get this working. When you try it and the cards really do only the usual half turn, you will see how much of an extra "flip" you have to give them to cause the one complete turnover.

right hand is as mentioned, or - the same as when you're turning over a tabled card - toward you. The difference is that the two cards are lifted slightly and casually tossed over. They turn side over side. Obviously, the same face and back are seen.

In a regular game, of course, the dealer would toss the cards, say "I've got twenty,"

Bob Fitch

After some practice, the cards stay low over the tabletop and that extra turn can't be seen - it happens too fast - in the air. Also, you'll find that you'll start tossing almost in a right-to-left motion rather than an out-andback motion - or, a combination of the two.

Gird es

This is a one-at-a-time production of four coins, using one playing card. Bob fooled me with most of it when he did it for me. Of course, he does it cleanly and beautifully, and his lead-in to it is intriguing.

He has four half dollars edge palmed in his right hand. (See Fig. 1.) You're going to have to release one coin at a time by sliding it from the bottom of the palmed stack with your right third finger. This can be done from a straight (classic) palm, but the angle of the edge palm makes that move easier.

you." He talks about objects sometimes being "the force," as in Star Wars. He removes a ring from his left finger with his right fingers, again, while the coins are palmed. This is disarming.

He puts the ring on the table and talks about the fact that that "circle" is important to him, he's been wearing it for twenty years, it's his wedding ring. It conjures up images of his wife, children, years of experiences, and so on.

He takes the card from the spectator and makes a circle with it, around the ring. Now, into the productions.

Holding the card with your right fingers, move it in a cirle around your left fist. Open your left hand; it's empty, of course.

You're still talking about "circles" as you place the card onto your open left hand near the tips of your fingers. Close your fingers as you turn your hand back up. You are doing the "through-the-fist" flourish, turning and pushing the card through your hand with your thumb.

Push through more than usual, as far as you can, with your left thumb. The card will start to angle to the right. It doesn't matter whether the card is face up or face down.

Part of Bob's introduction: He spreads the deck from hand to hand asking a spectator to select one card. The coins, of course, are palmed as he spreads. The deck is placed aside. He tells the spectator to touch the card, feel it, look at it, "make it part of

As soon as it angles, take it at its pro-

PUBLISHED, WRITTEN, EDITED:

ILLUSTRATIONS248

Greg

Webb

truding end, at the sides, with your right thumb and second finger. (See Fig. 2.) Snap it over with these fingers. Pause, and place it back onto your (open) left fingers.

Again, AS you do the flourish, your right third finger slides out the lowermost of the (now) three palmed coins. Grasp the card with your right fingers, exactly as before.

This is the point of the routine. You're a step ahead! You've loaded another coin before producing the first coin. And, it's done on the off-beat. Your right hand doesn't fidget when it grasps the card; the illusion is that your right hand hardly goes NEAR the card.

And, if you need more time to slide out the palmed coin, you can patter about making circles for a moment, before doing the flourish.

In action, the card v/ould be angled to the right.

Look at Figure ^.)

All right; turn your closed left hand fingers up and open it slowly. "There's a circle; but this one's REAL!" Tap the coin with the lower left corner of the card, as your right fingers face your spectator. Your fingers cover the coin (hidden) - it's a disarming action.

(See Fig. 5.)

Do the same through-the hand flourish, still talking about circles. It's AS you do the flourish this time that your right third finger slides out the lowermost of the palmed coins. (See Fig. 3.) Slide it out and let it lie on your right fingers.

Turn the card parallel to your left hand and, with its inner left corner, flip over the coin. Place the card, and hidden coin, onto your left fingers - and take the visible coin.

(See Fig. 6.) Drop the visible coin onto the table near the ring. Another disarming action.

Move your right hand back to rest position.

As the card angles out of your left fist, take it with your right hand. This time, at the outer long side, thumb on the card, fingers under it - the coin goes under the card. (See Fig. k.) Hold the card and coin with your right fingers as your left hand turns back to position - palm up.

Place card AND coin onto your left fingers as before. Your right hand moves back to "rest" position. Do the through-the-fist flourish with your left hand. The coin, -of course, remains in your left hand, on your fingers. The flourish looks exactly as before.

Continue this sequence by placing your left thumb onto the card, turning the hand fingers up, and making circling gestures around the tabled coin with the card. Again, your fingers cover the loaded coin. (See Fig. 7.)

And, again, as you do this, your right third finger slides out a coin.

Turn your left hand palm up and go right into the through-the-fist flourish. Your right fingers take it as before, loading the coin as before. This time, circle your left fist with

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Open your left hand to display the third coin. Bob uses either of two endings. Toss the coin onto the card and from the card onto the table. The easier ending is to use the card to point to your empty left palm. Slowly turn over your left hand and indicate the back of the hand with the card. Then, turn over your left hand again, place the card and hidden coin onto it, do the flourish, and produce the last coin.

The other ending is to pick up the justtabled coin with your left fingers as your right hand, and the card and hidden coin, moves to rest position. Your left hand circles the tabled coins with its coin. This gives you more than enough time to BACK CLIP the last coin - under cover of the card. Bob clips between his first and second fingers.

the card (See Fig. 8 ) , then use the card to gesture with as you open your left hand to display a second coin.

8

W

Drop the left-hand coin and take the card with your left fingers. Rub it on, or gesture toward, your empty right palm. "Nothing here."

Place the card back onto your right fingers and

This coin is dropped next to the first one - but do it like this: Drop the coin onto the card that's being held in your right hand.

Your right thumbtip should rest on, or just above, it. Now, "dump" the coin, but actually drop the just-loaded coin - the one being held against the underside of the card with your right fingertips.

It's done as you turn your right hand palm down. Simply release the "finger" coin, as your thumb holds back the other one. Be sure to raise your right fingers so that most of the card is visible. (See Fig. 9.) now your right hand uses it to indicate your empty left palm. "Nothing here." Turn over your left hand and indicate its back with the card. "And nothing here."

Turn over your left hand and, if you move it toward you to take the card from your right hand, you'll find it an easy matter to take the clipped coin along with it, flattened beneath the card. (See Fig. 10.)

You're in exact position to do the throughthe-fist flourish with your left hand, just as you've been doing. Grasp the card with your right hand, also as you've been doing. Circle your left fist - build it up - and open your left hand to show the last coin. Toss it to the table with the others.

Now, you can go into your favorite fourcoin routine!

Circle the two coins (and ring) with the card - or rub the card lightly over them. This is good; the actions are as before but, this time, the loaded coin is behind, not in front of, the card.

Place card and hidden coin onto your left fingers. Move your right hand to rest position. Do the flourish with your left hand as your right hand allows the last coin to fall onto your right fingertips. Grasp the card, and load, as before.

Afterthoughts: Learn this, perform it, and you'll see how good it is. There's absolutely NOTHING to be seen when Bob does it.

It's impossible to tell when or if he's loading. What you have to practice of course, is the edge palm of four coins and the SILENT sliding out of one coin at a time. Also, go over it until you're familiar with the exact handling; which action is used where. It's worth it!

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Gene Cosnoski

Beer Bottle Polka All attention is on the coin - nobody is looking at the chair. Now he finishes by smashing down on the napkin. The coin is still there, but the beer bottle has vanished!

Gene uses the old saltshaker from napkin effect standing at a bar. Not BEHIND the bar, but on the same side of the bar as the people for whom he's working. It's STRONG when he does it.

Afterthoughts: The chair has to be placed properly, so that you don't have to stretch for it. The steal of the bottle is almost the same (except the opposite) as loading a cup during a cup and ball routine.

He makes sure there's a bar stool, or chair, with a back, behind him and at his left.

He gets into the effect by telling how someone asked him to make a beer bottle disappear.

"Well, I can't do that, but I can make a quarter disappear."

What Gene does, after the vanish, is to sit down on the chair - the bottle is between the chair back and his back - as everyone looks for the bottle!

He borrows a quarter and puts in on the bar. He places a beer bottle (empty, or with some beer in it) onto the quarter. He covers the bottle with a napkin.

Now, he does the standard effect, trying to vanish the quarter. He lifts bottle and napkin once - the coin is still there. He lifts the bottle with his right hand and moves it to his left - a natural movement - as his attention remains on the coin.

He replaces the bottle, and tries again.

This time, as he lifts the bottle and moves it to his left - to about waist level - his left hand moves to just behind his waist, and he lets the bottle slip out of the napkin, into his left hand. (See Fig. 1.)

â&#x20AC;&#x201D;pmnm If the bar stools don't have backs, you probably can still do the effect. Either stand the bottle upright on the seat, or place it on its side.

His attention, and everyone else's, is on the coin and, as his right hand replaces the napkin - which retains the shape of the bottle, of course - his left hand quietly places the bottle onto the chair. (If there's still beer in it, you'd better be sure to place it so that it stands upright. If this bothers you, use an empty bottle. )

Out to

You can then either sit (gently!) on it, then slip it under your jacket to either dispose of it or re-produce it. Or, slip it under your jacket as you sit down.

continued from page 203

I also realized, in those days, that I looked too young. Not much I could do about it - I WAS young. The psychology was bad. The men, particularly if they were with women THEY were trying to impress, weren't too thrilled that a kid was fooling the pants off them.

Another thing I had to learn to handle was - drinking. I didn't know how to say "no, thank you," nor did I know anything about what to drink. During my stay on Miami Beach, the popular drink (at the places I knew about) was scotch and Seven-Up.

Well, I did something about it. I dyed parts of my hair grey! I did it fairly wells it did add a few years.

The very first table I ever worked in The Little Club, I was asked what I was drinking.

I said, "Scotch and Seven-Up." Something changed at that table. I couldn't put my finger on it, but I had lost them. The waiter tipped me off later - scotch and Seven-Up was not considered a "chic" drink in those circles.

Not long after my close-up table magic days, I had my own television show. It was called Professor Magic. I guess it was one of the first, live, magic, television shows out of New York. My character was that of a retired vaudevillian, a magician.

Okay; when in Rome, etc. From then on, whenever I was asked what I was drinking, which was at just about every table, I'd say, "The same as you're having, thank you."

Of course, I didn't look like a retired anything. So - they dyed my hair and made me wear eyeglasses. I still have a copy of the TV Guide Magazine that had my picture, as Professor Magic, on the cover. I look like a 19year old kid with dyed hair and glasses!

That was fine; no change of atmosphere, no sudden turn-off. And - by the time I got to the third table, each evening, I couldn't have cared less. I was feeling no pain!

No grey dye and window-pane glasses are necessary now!

to be continued.

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Editorial It's also why magicians form so many clubs and organizations. They can show EACH OTHER how well they do certain sleights - show it to others who can appreciate it - that alleviates some of the frustration.

Was Cardini a "finger flinger"? I have the feeling that those in magic who use the term "finger flinger" derogatorily - and I've rarely heard it used otherwise - WOULD GIVE A COUPLE OF FINGERS IF THE REMAINING FINGERS COULD "FLING" THE WAY CARDINI'S FINGERS"FLUNG"!

Getting down to the nitty gritty, in my opinion, when a magician derogatorily describes another magician as a "finger flinger," what he's really saying is - "I can't do what he does, and I SURE WISH I COULD"!

Was Paul Le Paul a finger flinger? Nelson Downs? Malini? Nate Leipsig? Does the current crop of those who carelessly fling around the phrase "finger flinger" mean to "put down" these fine magicians and entertainers?

Please don't misunderstand - I'm not "putting down" box magic or "box magicians," just as I'd prefer that "finger flinger" was not used in a "put down" fashion. If those who use "box magic" are ENTERTAINING - that's the name of the game, and that's fine with me.

I guess there always has been, and always will be, the distinction between the two phrases that always require quote marks around them "box magicians" and "finger flingers."

Well, I have been called a "finger flinger." Most often, by people who haven't seen me work! I believe these people are using the term to describe some "magicians" THEY'VE seen, and whom THEY classify as finger flingers.

It's just that, as I've said, I personally prefer sleight-of-hand magic. I also don't like to use gaffed decks or gaffed cards, or full-deck set-ups but, again, that's my personal preference. I certainly wouldn't put down those who do use them.

To me, sleight-of-hand magic is the only pure magic, but - and this is a philosophy I've spurted for years - the word "sleight" means SECRET manipulation or maneuver. If it's seen it is no longer secret therefore, as far as I'm concerned, no longer a sleight.

Although I may not use, or perform, certain things, I'm interested in ALL areas of magic. And, obviously, I run items in Apocalypse - whenever I can get them, and if they are good - that I, personally, may never use but that I know will be used by others.

This, of course, is a very frustrating area. Magic is the only art I know where the very core of the talent CAN'T BE DISPLAYED. In every other creative area the artist's technique and knowledge is publicly and obviously displayed. An artist shows his finished work, a writer has his finished book, and so on. His talent and technique is there for all to see and admire. A magician, however, can't really display his well-practiced sleight or great idea or variation - and that's frustrating.

There are those, however, who REALLY BELIEVE that "box" magic is the only magic - it's all they know, or WANT to know.

Dennis Marks related an anecdote to me I believe it originated with Paul Curry. It's about a local magician who did two tricks - he did the color-changing handkerchief (mechanical version) and the milk pitcher. For some reason, the Lord selected him to "touch" and turn into a REAL magician.

You may argue that - in magic - the final result of years of knowledge and practice IS seen and can be displayed. True, but the clever "secret manipulation" is not, or should not be, seen or displayed. That's frustrating. And that's why many magicians telegraph, call attention to, their "secret manipulations." They want to (subconsciously) showoff the sleight that took so much practice. And which, of course, is just the wrong thing to do.

"You are now a REAL magician," sayeth the Lord, as He touched the magician with a fingertip, "You can do ANYTHING you want to do in the area of magic."

Do you know what the local magician did at his performances? You guessed it - he did the color-changing handkerchief and the milk pitcher!

NEXT MONTH Richard Kaufman's Woody Landers' Charles Randall's Harry Lorayne's

BillWisch's Chain(R)Ing Bernard Bilis1 All Around The Town Tom Craven's Goody Goody plus...

Quick Hofzinser Quick One To Go Evening The Odds One-Way Tally-Ho

APOCALYPSE is published every month by Harry Lorayne, at: 62 Jane St., New York, N. Y. 10014.

All checks are to be made payable to Harry Lorayne, and mailed to him at that address.

Individual issues - $3.00 each Subscription - $30.00 per year

Overseas subscription - $33>5O surface mail (U.S.A. dollars only) - $39.00 air mail - $40.50 airmail to Australia, Japan, So. Africa, etc.

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Lofayne's VOL.2 NO. 10

THREE DOLLARS

OCT., 1979

pocalypse 速 COPYRIGHT 1979 by H. Lorayne. Inc.

ISSUE NO. 22

Richard's book, CARDMAGIC, should be out about now - or shortly. This effect is NOT in that book - it's exclusive with APOCALYPSE. Some background - it seems that Jim Swain was inspired by Quick 3-Way, and came up with his own routine. He showed it to Richie. This inspired Richie to come up with his own. In the Afterthoughts is the effect inspired by Jim. It uses two duplicate cards. But, what follows now, to my mind, is a much better routine. The handling for showing the same card "everywhere" is the same in both, but Richie's ending for this routine is excellent.

This is done with a borrowed, shuffled, deck. Have three cards selected and control all three to the bottom. After your shuffling, turn the deck face toward you as you spread and patter about trying to find the three selected cards.

Kaufman

What you do here is to glimpse the face (one of the selections) card and openly cull the three remaining cards of that value to the face of the deck. This is an open cull - it should appear as if you're trying to find the selections, and bring them to the face of the deck. When you've culled the three matching values, the situation, from the face, might be - 3H, 3S, 3D, 3C (the first selection), followed by the, say, 4-H and 9S - the second and third selections.

Grasp all six cards in a block and place them DOWNJOGGED to the rear, as you say, "I think I've got them." Flip the deck face down and square, obtaining a break beneath the (now) injogged block of six cards.

The next step is to reverse the lower of these six cards. This is done via the K-M move.

Quick description: With your right hand, take the entire block from above. Your fingers are toward the right side of the block.

then it's removed with the face-up card. You are now in position for the "everywhere-nowhere" sequence. (See Afterthoughts for easier way.)

Place the deck proper face down onto the table in front of you, an end toward you. This is in readiness for the clean-up at the end.

Now - holding the packet from above as before, with your right hand, your left thumb peels off one, then another, card. Their order is reversed, and they're held in slightlyspread, or fanned, condition. The center card of the fan should be only slightly spread.

(See Fig. 4.)

As your right hand moves the block to the right, turn it so that its face is slightly to the right, and your left fingertips bend in to contact the face card of the block. (Fig. 1.)

Turn your left hand palm down and the deck face up, taking along the face card of the block.

(See Fig. 2.)

At the same time, your right hand moves the block forward as your left forefinger points to it. Say, "I think I have your cards right here." (See Fig. 3.)

Ask the third spectator to name his card (9S). As soon as he does, your left hand turns over, turning the lower card of the fan face up.

(See Fig. 5.) Say, "This looks like the nine of spades..."

Turn your left hand palm down moving under the right-hand cards. The 9S goes under and flush with the top card (block) of the righthand 2-card spread. To make this clean, your left thumb contacts and rests at the upper side of the left-hand card of the 2-card spread.

The reason for the center card not being fanned too widely is that this card doesn't have to move too far to flush with the block.

As soon as the 9S is in position, your left thumb (which is right at position) grasps the upper left corner of the left card of the 2-card spread, and holds it in place. AS you do this, your right hand moves its entire block (including the 9S) to the right - clearing the card your left thumb is holding and flipping the entire block FACE UP onto the left-hand card. (See Fig. 6 which shows the right-hand block just about to clear.) Say, "...this looks like the nine of spades..."

Start to bring the block back to the deck proper as your left thumb pushes off and pulls back the rear (stolen) card - to obtain a momentary left little finger break beneath it.

Your left hand turns palm up, turning the deck face down, just as the right-hand block is placed onto the deck. Time this so that the stolen (face-up) card doesn't flash. The block rests on the deck for just a split second -

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Take all the right-hand cards (all but the bottom card) and place them ONTO the tabled deck - immediately lift away the two cards above the break. This exposes a face-up 3-spot on the tabled deck. (See Fig. 8.) Say, "Well - I've got the heart..." Flip over the two right-hand cards, exposing two more threes, separate them onto the table, above the deck "And I've got the spade and diamond..." Take the remaining left-hand card with your right hand, snap it face up and place (or toss) it above (and centered) the 3S and 3D, as you say, "...but yours must be the club!" (See Fig. 9.)

Your right hand immediately takes the top, single, 9S and shows it on both sides. Replace it, face up, onto the left-hand cards. It's AS the card goes flush onto the packet that your left thumb does a block push-off of all but the bottom card. Done correctly, this is a clean maneuver. It's simply a block pushoff, but it appears as if the 9S never goes fully flush. Flip the entire right-hand block OVER onto the left-hand single card.

Your left fingertips pull out - into fan condition - the lower two cards. As you say, "...and the center card looks like the nine of spades," your right hand raises the top, righthand, card (block) of the fan and uses it to flip the center card face up. Flip it face down the same way, and drop the right-hand card(s) onto it, squaring the packet. This entire sequence must be done smoothly, cleanly, and fairly rapidly. Done that way, it cannot be followed and really appears as if the 9S is "everywhere."

Now, pull out the two lower cards with your left fingers, just as you did a moment ago, forming a small fan. Ask the second spectator to name his card. When he does, go into exactly the entire sequence just described showing that the second selection is at bottom, top, and center.

Casually, and openly, slide the top card to the bottom - holding a break above it, as you say, to the last spectator, "Let me make this more difficult - tell me only the value the number, of your card; not the suit." He'll say (in this example), "three."

That's the ending sequence, which is startling and pretty. And - you're clean! Go over this, think about it - it's good.

Richie suggested another ending. Get to ending position (the two breaks, as in Figure 7 ) . Since the bottom (selected card) is broken, it's easy enough to bottom palm it. Rest your left hand, with the palmed card, on the table, at the edge - as you go into exactly the ending I've described.

As you talk, your right thumbtip raises (at the inner end) the top two cards of the packet and grasps all cards but the bottom one.

(See Fig. 7.)

(See Afterthoughts.)

But - after you place the second and third 3-spots to the table, say, "But your card - the three of clubs - is here in my pocket (or wallet, or whatever)." Reach into your inside jacket pocket and produce the selected card.

(This can be a SIGNED selection.)

Both endings are good.

Afterthoughts: For the effect with two duplicates - assume you have three AS's in your deck. Two of them are face down on top, the third is FACE UP, third from top.

Have two cards fairly selected; force the top AS on the third spectator. Either control the three cards onto the top, remaining AS's, or simply take them from the spectators. Take them in the order selected - the AS is at face.

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finger break beneath the six vital cards. Your right fingers (from above) start to pull the six-card block to the right, as you say, "I think I've got your cards."

Your left thumb simply holds back the face card - which stays on the face of the deck, with a break beneath it. Flip the right-hand block face down onto it and remove all SIX cards. That's all. Your left hand places the deck onto the table, as explained - and your right hand holds the six cards, the bottom card of which is face up.

Steal the two top cards to beneath the three selections. (You'll be working with a 5-card, rather than a 6-card, packet.) You're in position to do the "everywhere-nowhere" sequence, exactly as explained, with the first two selected cards.

Then, slide the top card from top to bottom, obtaining a break above it, also as explained. To end, ask for the name of the last selection (AS). Then - push off the top card with your left thumb. Take it with your right hand, fingers on top, thumb beneath. Turn it face up. The second card from top is a face-up AS; the card you just turned face up is an AS and; your right fingers go into the break, holding the top two(?) face-up AS's, as your left hand turns its single card face up.

And, also for the impromptu version, for the ending - I don't bother sliding the top, selected, card to the bottom, holding a break above it. It can be done in a much simpler way.

At that point, you're holding six face-down cards with a face-up card fourth from top.

Simply get a break above the face-up card easy because of the "natural" break. Maintain the break with your right thumbtip as you hold the packet from above.

When the third spectator gives you only the value of his card, simply slide the top card into your left hand with your left thumb AS your right hand moves the packet (remaining five cards) to the deck - now do the ending sequence just as I described it. This eliminates the slide of one card to the bottom and the extra break.

Place this beneath the fan for a moment to display the three AS's - then move the lower one to the top and drop all three onto the deck.

This, again, "cleans" up everything. You are, of course, left with three AS's. I, personally, like the impromptu, any deck, version better.

And, for that impromptu version, Richie has another method for getting set for the "everywhere-nowhere" sequence. It eliminates the K-M move and it's faster. When you've brought the three matching-value cards to the face of the deck, square the deck - face still toward you - and get a momentary left little

Remember, if you Xerox this magazine, you lessen its worth to YOU!

IT'S,

Tim, FOLKS.

If your subscription started with the first issue of Volume II (January, 1979), the December,: 1979 issue (#24) ~ two issues from now - is the last issue of your current subscription. I know ;; that you want Apocalypse to continue to reach you without interruption or delay, and it would d help toward that end if you sent in your $30.00 renewal now. ;'j There is a time lag, between removing and re-entering names and addresses on the mailing list, s -Removing and re^eivt-ering is also costly. So, please 3end in your subscription renewal as soo.fr as * you can. NoWj is t»sst. Make your check or money order payable to me, HARRY LORAYNE, and mail it ? to 62 Jane Street> $ew York, N. Y. 1001*4-. Mail it now and no delays can possibly occur with your : :subscription. DON'T FORGET - do it NOW! : Foreign subscribers please add postage as stipulated in the subscription box on the rear page. If you're sending, an International Money Order, please send it now. It can take anywhere : from ^ to 7 weeks for it to reach me. And, for all subscribers - if your subscription started ;• with an issue later than January, 1979, you know when your renewal is due. Send it in now, if :you like - get it off your mind.

You can help support Apocalypse by talking a friend into subscribing. Do some effects out •of Apocalypse, and tell him they're from Apocalypse. It shouldn't take much talking into. If • you're not a subscriber, what in the world are you waiting for? I'll tell you what - and this is •;; i. NOT a subscription <jrlve, it's just easier bookkeeping - if you subscribe now, you'll get the ;: December, 1979 Issue free?

(Hot the November issue.) So, get it straights Subscribe NOW starting with the January, 1980 issue, and you'll receive the D e c , 1979 issue free. Be sure to : mention this when you remit your $30.00 (plus postage for foreign subscriptions). This is for NEW subscribers ONLY (if you're already & subscriber, you'll be getting the D e c , 19?? issue ; anyway), The index for all of Vol. II will be inserted in either the D e c , 1979 or the Jan., 1980 issue. The second anniversary issue (Jan., I980) will be a "blockbuster" issue - and, in my 'opinion, So will ALL the issues of 1980. I have some TERRIFIC magic that I just can't wait to runJ

:

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• ;

.':

Bill Wisch

Chain(R)ing

Bill does a complete routine wherein his finger ring magically comes off - penetrates a chain; then it magically goes ON the chain.

The ending is that the ring vanishes and appears back on his finger. The "off the chain" methods he uses are already in print - it's his "on the chain" then back on the finger handling that I want to describe.

forefingertip - this is almost automatic. As soon as it's "caught," allow that part of the chain (outer) to go INTO your hand. Simply catch that as your fingers close - or open them a bit, if necessary. (See Fig. 3.)

You need two main items; a 3 to 3l foot length of chain. Bill uses a gold, link, chain; not too narrow, not too wide. It's "soft," not stiff, in the hands. The link size, I'd imagine, is either an eighth or a quarter of an inch. You'll have to experiment.

Bill tells me that the chain he uses is sold at millinery supply, or notion, stores. You probably can also get it at a large hardware store.

The second item you need is a plain, wedding band, type of ring that fits LOOSELY on your left third finger.

The magical penetration of the ring onto the chain can stand alone, but you might want to perform one or two "off the chain" penetrations first. Up to you. Then, end with the following.

What you've done is to make sure that a loop of chain is in your hand lying on, or next to, the ring. In a continuous action, turn your loose fist fingers up. Open your fingers slightly so that you can see into your hand.

Let the loop slip off your forefingertip as you jiggle the chain just a little so that that extra loop ENTERS the ring. (See Fig. 4.) Let that extra loop fall off your forefingertip as you turn your hand and, most often, it will fall into the ring by itself.

4

Place the ring onto your open left hand, near the base of your fingers and on your fingers. Hold the chain at one end with your right hand. Place it across your left hand by running it from the outside of the hand, across, and down the inside. (Fig. 1.)

Run the chain down until the end you're holding is about four inches LOWER than the other end. (See Fig. 2.) Pause to display and to stress that the ring is OFF the chain.

Turn your fist fingers down again. The ring stays in place as the loop starts to hang free. Use your thumb to keep the ring in place if you have to. You'll find that the loop falls right into the fork of your thumb - if you're turning your hand properly. A slight swing of the hand facilitates it - swings that loop right to position. Thumb palm the loop.

(See Figs. 5 and 5A.) The ends of the chain will be hanging, and uneven, and swinging.

As if your only purpose is to stop the swinging of the two ends, move your right hand up to your left hand and then move your right hand down the hanging strands. But - as your right hand nears your left hand, RELEASE the ring from the little finger side of your left fist and catch it in your right hand. (Fig. 6.

There's no obvious pause. Remember, you're simply running your right hand down the chain to steady the strands.

Slowly close your fingers and start turning your hand palm down (toward you) as you do. The outside part of the chain is over your forefinger as you do this. You've got to catch that loop on your

257

what is going on inside your hand. After some practice, it's all done in a second or two.

Your right hand stops moving downward as soon as the ring passes the SHORT hanging strand. (See Fig. 7.) You probably don't realize it, but the ring is now already ON the chain!

Move your right hand, with the ring and the strand of chain it's holding, up - in front of your left fist - and over it. As you do, secretly drop the ring (it's on the chain strand) into your left hand. (Fig. 8.)

You have plenty of "shade." But there,

5A

again, should be no hesitation as your right hand moves over your left fist.

The work is all done. The rest is buildup. With your right hand, grasp the two dangling ends. Reverse the positions of your two hands so that your right is above your left.

Continue the right hand's movement. Its strand is released so that it hangs over the back (outside) of your left fingers.

Move your palm-up right hand under the ends, indicating that they're now about even - and, at the same time, showing your empty right hand. (Fig. 9 depicts the position at this moment.)

\

Open your left hand. Your audience sees the ring and a bunched portion of chain. (See Fig. 10.) To all intents and purposes, the ring is still off the chain. Jiggle the chain and ring on your left palm - as you slowly lower your left hand until the ring is left visibly dangling ON the chain!

Done correctly, this is a beauty. Now, Bill's ending. Hold one end of the chain in each hand, at the fingertips, displaying the ring on it. Stretch your hands apart, so that the chain is loosely stretched out horizontally. Tilt hands and chain so that the ring slides down to your right hand. Then tilt the other way so that it slides down to your left..

The entire sequence just described is ostensibly to even the lengths of chain. The jiggling of your left hand is done openly; no reason to try to hide it. No one can see

If you're holding the ends properly, the ring will slide down and come to rest on the tip of your left third finger! (See Fig. 11.)

From here, pull the chain upward - out of the ring - with your right hand; your left hand remains stationary for the moment. In a continu-

258

ing movement drape the chain over your left wrist or forearm - the chain moves from the outside, toward and over, your left arm.

The ring remains ON the left third fingertip of your loosely fisted hand. Move your left hand to your right hand as if you're dropping the ring into your right hand. Retain it on your left fingertip, of course. (Fig. 12.)

All attention, of course, is on your left elbow and right hand. And while it is, your left fingers pull the ring up and onto your left third finger. (That's why it has to be a loose fitting ring. )

11

12 As you turn to the front, show your right hand empty, and say, "It was all an illusion, of course. You see, the ring never left my finger!" Show the ring back on your left third finger.

Without pausing, in a smooth continuation of movement, turn your body to your right which brings your left (bent) arm and elbow area toward your audience.

At the same time your right hand, supposedly holding the ring, moves to your left elbow, and pretends to rub the ring into your elbow.

Afterthoughtsi Obviously, this kind of magic is difficult to describe in print, or learn from print. I've made sure not to leave out any steps. You'll just have to go over it a few times - until it makes sense, until you are familiar with it, and until it "flows."

Your left hand is automatically turned back outward and is practically out of sight.

Charles Randall

It's worth the time and practice.

Evening The Odds reads something like, "There will be an EVEN number of packets containing an ODD number of cards." The prediction, piece of paper or newspaper, is given to a spectator to hold.

In the April, 1978, issue of Apocalypse (Vol. 1, No. l+, page ko) I used a small space to mention an interesting odd-even problem cutting a deck into different numbers of packets. I also asked if anyone could come up with a routine based on the concept. These are Charlie's thoughts on the subject. By his own admission, it's not as strong as he'd like it to be. Perhaps you can make it stronger, or fit it into your repertoire as is.

The (52-card) deck, which is set into its "one-way" pattern is introduced. You can, of course, have it set beforehand, or set it during a preceding routine.

You can shuffle, keeping the backs facing one way. Then, what you have to do is turn exactly half the deck so that the ends face the other way - and do a perfect "in" or "out" faro shuffle. The object is to get every other card facing, the same way - the backs alternate. Of course, if you'd rather, you can have it set that way before you start.

His routine requires a deck with one-way backs. He makes his own, using blue-backed Bicycle Rider Backs. He uses a blue felt-tip pen to fill in the white dots just above the angel's wing at the upper right and left corners. Do this with every card, and you have a one-way deck.

With the backs alternating, the deck can be cut (complete) as often as desired. The first part of the routine is an old idea of Ted Annemann's - it enables you to tell whether an odd or even number of cards have been cut off by the spectator.

Some time ago I found a legitimate one-way design on the Tally-Ho "circle" back. It is MANUFACTURED for you! It's fairly easy to see.

I'm including that elsewhere in this issue.

Charles writes a prediction on a slip of paper or - for a much stronger effect - places the prediction as an ad in the classified section of the local newspaper. The prediction

Let a spectator cut the deck into two packets - he cuts anywhere he likes. If the

259

top cards of both packets face the same way, both contain an even number of cards. If one faces one way and one the other way - both contain an odd number of cards.

LAST packet (#3 in the figure) against the top card of #1 - if their backs face the same way, #1 contains an even number of cards. If they face in different directions, #1 contains an odd number of cards.

Make a big deal of pointing to a packet (I always use the smallest, to save time) and stating whether it contains an even or odd number of cards. Let your spectator count them.

If he counts without reversing the cards, you are set to repeat - just put the two packets together and repeat.

Check the top card of #1 against the top card of #2 to see if #2 contains even or odd and, finally, check #2 against #3, which tells you what #3 contains. This idea can be expanded to ANY number of packets.

As this is being done, turn all the packets that contain an odd number face up, or push them forward. There will be an even number of these - always. When all packets have been counted, etc., say, "Not only have I told you whether the packets you cut are odd or even but I KNEW exactly what was going to happen before it happened!"

If he reverses as he counts and if it's an ODD packet, there's still no problem - you are set to repeat. But - if the packet is EVEN and he reverses as he counts, you've got to re-set.

This can be done in either of two ways. Either count the OTHER packet, reversing the order or, as I prefer, simply take his counted packet and double cut one card (or any odd number of cards) from bottom to top or top to bottom.

That's all.

Let your prediction be read - it will be correct, of course!

Repeat. One repeat would seem to be enough. I like to throw in one other bit. I say, "Not only can I tell whether you cut off an odd or even packet, but I can cut off either one whenever I like. I'll show you - which would you like me to cut, odd or even?"

Afterthoughts: If an even number of packets is cut at the end, it's possible - although the odds are against it - that there will be NO packets with an odd number of cards. There are three ways to overcome this problem; if it does occur, you can simply point out that zero IS an even number; or, have your prediction read, "There will be either an EVEN number of packets or NONE containing an odd number of cards;" or, let your spectator cut 3. 5. or 7 (or any odd number) packets at the end. If you don't want to limit his choice, just let him cut. If he cuts an odd number of packets, fine; if he cuts an even number, say, "Oh, and cut one for me."

I prefer this last ploy.

Whichever is named, I cut a small packet (to save counting time) as I thumb riffle up on the deck. Simply follow the formula. If you want to cut an odd number, spot the direction of the top card and cut so that the top card of the other (larger) packet faces the other way.

For "even," cut so that both face the same way.

Then, go into the main part of the effect; the ending. Let the spectator cut the deck into ANY number of packets. Make a big issue over this freedom of choice.

Don't forget that you can (complete) cut the deck between steps - or, you can cut any PACKET, during the routine, if you stop cutting with the top card facing as it was before you cut!

Finally, if you palm out a card, you can repeat and get a different ending. There will be an odd number of packets containing an odd number of cards - and the formula will work the opposite way. I think, with proper presentation, this can be an interesting interlude.

Particularly if you stay away from any kind of "mathematical" presentation. I talk about "sensitive fingertips" as I do it.

For explanation purposes, assume he cuts three packets as in (Fig. 1 ) . Packet #1 is the original bottom, #2 is the center, and #3 is the original top. Check the top card of the

PUBLISHED, WRITTEN, EDITED:

Harry Lorayne ILLUSTRATIONS: Greg Webb 260

Harry Lorayne

One-Way Tally-Ho the teardrops are SMALLER; they do NOT fill the blue (or red) space. Once you find it, it's obvious. (See Fig. 2) which is a blow-up of a couple of the teardrops on top - and a couple on bottom.

It's conceivable that this has been spotted before, and that it's in print somewhere.

I've never seen it, and all those with whom I have checked have never seen it nor heard of it.

It's a built-in method for making the Tally-Ho circle back a one-way back. Take a good look at the large circle in the center of the back. The circle's design is, sort of, a fan. At the top of each stem of the fan (there are 32 of them) there is a white horizontal oval, a small circle or dot, and a vertical "teardrop" shape. (See Fig. 1) which is a blow-up of a few of these stem tops.

That's it. Set all the (say) long teardrops on top, and you have a one-way deck. If one card is turned, end for end, and lost in the deck, it would be easy to find. It IS fairly easy to see - without staring at each card.

This is the deck I use for Evening The Odds, in this issue.

It's the teardrop shape that creates the one-way pattern. Hold the card, an end toward you, so that you see a long teardrop that almost fills that blue (or red) space - as those in figure 1. Now, look at the bottom of the circle, where the teardrop shapes point upward - look slightly left - and you'll see that

Woody Landers

Incidentally, same pattern is at So, you can locate left-right instead spot a turned card a long side toward

for what it's worth - the the SIDES of the circle. a turned card by looking of up-down, or - you can while handling the deck with you, etc.

One 7b Go Place the last, left-hand coin onto the back of your right fist, to display it. Openly clip, or pinch, it between your open left first and second fingertips to take it back into your left hand. (See Fig. 2.)

This is a "surprise" ending for any fourcoins-across routine. At the point where the last coin is to magically travel to (say) your right hand, joining the other ..three - the three in your right hand magically travel BACK to your left hand.

As your right fist moves outward - away from you - in order to turn fingers up, the hidden three coins go (almost automatically) into left-hand thumb palm. (See Fig. 3) for a stop-action view.

Right and left are interchangeable, of course - but I'll teach the move as if you've made the first three coins travel from your left to your right hand.

As you close your right hand over the three already-traveled coins, get the coins to REAR thumb-palm position. This is done as your hand closes and turns back up. The coins are out of the spectators' line of vision. I assume you have your own way of getting the coins to that position. The standard method - grasping the coins between first and second fingertips and riding them up along the upper side of your thumb - is as good as any. (See Fig. 1.)

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The one visible coin goes SILENTLY into your left hand - as your left hand closes - to join the three stolen coins. That single coin is easily brought into the hand as if bringing it to classic palm. That way, it stays clear of the thumb-palmed coins - avoiding any clinking.

Open your right hand. Your spectators, of course, expect to see four coins there - they see an empty hand. Open your left hand, showing all four coins - to end.

To end, shake both hands once - in a magical gesture. Let the thumb-palmed coins fall INTO your left hand during this gesture clinking is all right now.

Afterthoughts: This is a good surprise ending for a four-coins across routine. And, it's easy to learn and perform.

Tom Craven

Goody Goody "Now, there are some face-up cards on top; would you spread them until you come to the first face-down card - then turn all the faceup cards face down. Have you done that? Everything is as it was? Fine."

In the very first issue of Apocalypse (Vol. 1, No. 1) appeared an effect of J. K. Hartman's, called Goody Two Choose. It was based on a Henry Christ force. It also necessitated a set-up deck. Using that as his inspiration Tom came up with the following, which is basically the same effect but uses no set-up at all. It's a fooler.

Turn to face him and take the deck. Immediately turn it face to you and start spreading hand to hand. Note the value of the bottom card (6, in this example) and continue spreading, looking for your key card. When you find it, start counting ON that card - to 6, in this example. (You count to the number of the face card, whatever it happens to be.) The 6th and ?th cards from (above) the key are the two thought-of cards!

Let one spectator shuffle the deck as much as he likes. When he's satisfied, turn your head aside (or do that as he's shuffling) and ask him to look at the bottom card. Tell him that if it's a picture card or an ace - to cut or shuffle some more until there's a spot card at the face.

Whatever that card is (let's assume, for explanation's sake, that it's a 6-spot) he's to count, from the top, one by one, onto the table, that number of cards. Then, he's to look at the top card of the dealt packet (the last card he dealt), remember it, and replace it onto the dealt packet. He's to place that entire packet FACE UP onto the deck proper, and square the cards.

End as you like. You can simply memorize the two cards, then read their minds - or, as Tom does, cut them to the top and Braue Reverse the top one to center. Spread and display; remove the card. Then Braue Reverse the (now) top card and show that reversed at center. (I described the Braue Reverse in Pair-A-Noic, Vol. 1, No. 12.)

Afterthoughts: There are, of course, many ways to end once you know the two cards and have them under control. You could cut them to the top, double lift showing that you've found one card.

At this moment, turn to look at him as you say something like, "There's no way I could know the card you're thinking of." What you do is glimpse the top card of the deck - which is face up and staring you in the face. This is your key card - remember it. (This can't seem to have anything to do with the effect, and when Tom performed it for me, I never even thought of it - or noticed it. It's what fooled me . )

Place that card, supposedly, onto the table, Braue Reverse the (now) top card, show the face-up card at center - it's the one you put onto the table. Turn over the tabled card it's the second selection.

Turn away again and tell the spectator to hand the deck to another spectator (if you're working for only one person, continue with him). Instruct spectator #2 to cut "Oh, somewhere near center" and to turn that entire batch over and back onto the deck. He's to remember the card he cut to - the one now face up on top.

You can, if you like, do a false riffle shuffle or two when you take the deck - I don't think it's necessary. A false cut is all right, too.

Try this; with proper buildup it's a strong effect. You'll also fool magicians with it.

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Bernard Bilis

All Around The Town

The basic idea originally appeared in Bernard's pamphlet, CLOSE UP, FRENCH STYLE - published by Magic, Inc. in 1976. It's one of those things that I believe has been overlooked by close-up workers everywhere. It appears here with full permission from Bernard.

that the move is done. Move your hands onto the coins exactly as before - remember, right hand over the lower coin; your left hand covers the upper coin, but your left thumb goes under your right hand and, automatically, onto the lower coin.

Sol Stone suggested the East, West, North, South presentation, and I threw in a thought or two. The result is a quick fooler.

There's no pause here; move your hands apart, to east-west position, as before but your left thumb takes along the lower coin; your left hand moves BOTH coins. (See Fig. 3) for a stop-action, exposed, view.

Place two coins on the table, one below the other, about three and a half inches apart.

(See Fig. 1.) "This is north and south." You

Keep your hands in position (east-west) as you ask, "Which do you prefer, east-west or north-south?" If the answer is "east-west," leave your hands where they are, and say, "Watch." Raise your right hand to show that that coin is gone. Raise your left hand to show both coins.

are going to move the coins to a horizontal plane, to represent east and west. Do it this way: Your open right hand covers the LOWER coin, your left hand covers the upper coin.

Your left thumb goes UNDER your right palm.

(See Fig. 2.) Move your hands apart, moving the coins along with the fingers of each hand.

Remove your hands to show the coins. "And this is east and west."

If the answer is "north-south," move your hands, as if sliding along a coin with each, to north-south position. (See Fig. 4.) Then end the same way.

Move the coins back to "north-south" position. "Remember; this is north and south." It is as you say, "And this is east and west,"

Afterthoughts: It's difficult to explain what a fooler this is. Learn it, and you'll see for yourself.

NEXT MONTH Paul Gertner's Reverse Assembly...

Scott Weiser's Half-Shot...

Pat Cook's Double Deal (& Lost Aces)...

Jonathan Townsend's "Now!"...

Dennis Marks' Toss Change...

Scott Weiser's Under Glass Change.

Looy Simonoff's Rub Out!... plus...

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Ellipses (...)

Received some funny letters re: my "magicians are nice people" piece (August, 1979 issue)... from some who'd heard me speak of a few other magicians in not-so-nice terms. Well, when I said "magicians are nice people," I meant GENERALLY speaking... still mean that. Sure, I've got 3 or 4 magicians on my...for want of a better, printable, word..."dislike" list. For many years after I became involved in magic, I really did feel that ALL magicians were nice and that all magicians were intelligent...matter of fact, I thought all talented people were nice and intelligent. Unfortunately, I learned differently as the years slid by.

Also received some correspondence re: my "credit" editorial (June, 1979 issue)...well, you can vent your anger. Send me your vituperative epistle and I'll be glad to forward it to the allegedly offending contributor. Then, you can choose your seconds and fight your own duel.

You're welcome. All other correspondence ... news, contributions, gossip, suggestions...also welcome. Still haven't received any cigarette-trick contributions.

One subscriber wrote that he's gotten 116 good to great effects and routines out of the first year and a half of Apocalypse ... ordinarily has to wade through 116 issues of other magazines to find one or two good to great effects or routines. Nice to hear. Dennis Marks came up with a lovely card effect using a small toy robot. Should be out now (Tannens)...I believe it's called The Robot Rascal. Irv Tannen enjoying his retirement... comes into the shop once every three weeks or so to say "hello" and to keep his hand in...he bought a house in Florida, only ten minutes or so away from brother Lou. For those who have QUANTUM LEAPS (first printing) - there are a couple of miBiake$ therein.

You'll see them if you're working on the effects, but to make it easier for jrou,., .FI&-. kl on page 70 is, sort of, an optical illusion - the right hand should be PALI BOWK. Page 1^2, Fig, 127 - the letters are reversed..,should be I5,B,C,B,A from top dawn. fJn pa£g;;:;.3.;5J;,^;|;:l#»;--4.fe';:* should be Fig. 143, and vice ver-Ba. •tmmmmmm&mtmmmx, Have you picked up your copy yet? It's available from your favorite dealer or directly from me...$28.75 gets you your copy by return mail...autographed only on request. (Foreign orders - $33.00 for airmail; $28.75 surface mail.) Have been told by some that QUANTUM LEAPS is the best book on card magic ever! Well, don't know about that - but I'm not about to argue with them!

Greg Webb and I have worked out a "system" for the illustrations. Time was the big problem...so, he's doing the drawings "in one" from my poses...making them simpler so that it goes faster. He does the drawings in one shot, and I do all the layout work. Seems to be working much better, and I love the simple drawings. Check this issue - don't you agree?

Steve Minch sends some of the info I've looked for...the cutting sequence to show the deck face up/face down that I took off on in QUANTUM LEAPS was invented by Daryl Martinez of San Francisco. It appeared in Tony Chaudhuri's book, "BEDAZZLED!" and was well-described, contrary to what I was told, but incorrectly credited. Thanks, Steve.

Saw four 3-card monte workers on one block...between 6th and 7th avenues on 14th St. in New York City...one of them a female. Looked like they were all doing business - hard to tell, could all be shills! Most of the operators are quite good. A "civilian" doesn't stand a chance, but do you realize that even as a magician, knowing the monte move, you have only a 5050 chance? There's no way of knowing, or seeing, whether the operator is doing the move or not.

And, the shills are awfully good - I've watched for 15 minutes at a time...still couldn't tell which were the shills and which weren't.

Not such good news: Heard that New York City...got this information near his hotel. Can happen anywhere than with people! Last I heard Fred

Siegfried and Roy took a couple of weeks off second hand, but understand that one of them I guess...but seems they're safer with their Kaps is out of the hospital, but still quite

to visit was mugged tigers, etc., seriously ill.

Young_Jeff McBride appearing at the Club Ibis (a nightclub), at 50th St. and 3rd Ave. in New York City...has been for almost a year. Does a white-face, pantomime, manipulative, act.

He's been receiving some good reviews in trade, and other, papers. You ought to drop in to see him...the club is NOT inexpensive - $7.50 cover, I believe.

The main stages of a professional performer's career: 1. Who's Harry Lorayne? 2. Get me Harry Lorayne. 3- Get me a Harry Lorayne type. 4. Who's Harry Lorayne?

Don't know which stage I'm in...particularly since not too long ago I was approached, in a restaurant, by a person who said, "Didn't you used to be Harry Lorayne?"!

APOCALYPSE is published every month by Harry Lorayne, at: 62 Jane St., New York, N. Y. 10014.

All checks are to be made payable to Harry Lorayne, and mailed to him at that address.

Individual issues - $3.00 each Subscription - $30.00 per year

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Overseas subscription - $33-50 surface mail (U.S.A. dollars only) - $39.00 air mail - $40.50 airmail to Australia, Japan, So. Africa, etc.

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^ — ^ —

Lofayne's THREE DOLLARS

VOL 2 NO. 11

NOV.. 1979

pocalypse ISSUE NO. 23

COPYRIGHT 1979 by H. Lorayne, Inc.

A good coin assembly (matrix) is a strong piece of close-up magic. Paul, however, feels that by the time the third coin has traveled, the audience knows how the routine will end. This routine is designed to build to a surprise ending. As the last coin is about to join the other three, all the coins magically, and instantly, return to their original places.

Needed for the routine: cards.

Six coins and one expanded (stretched) shell, and four playing

To perform: Place four coins on the close-up pad, one in each corner. The expanded shell is on the coin at the right upper corner (nearer your audience than to you). One coin is in your right hand, in Classic Palm. The other coin is held under the four, slightly spread, cards in your hand. Place the cards, one at a time, face down onto the coins. Starting with the upper left coin, then the lower left coin, then the lower right coin - the last card, together with the coin hidden under it, is placed on top of the upper right coin (the shelled coin). Make sure the coins do not "talk," and the hidden coin goes to the left of the shelled coin.

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Move to the lower right card and perform the scoop. Take the coin and vanish it showing your left hand empty. Now say that all four coins are together. Your right hand moves to the upper right card, and as it picks up the card it also picks up the shell and the coin nested in it by clipping the coin and shell against the card with your right thumbtip. When the card is lifted only one coin is seen. Then quickly pick up the remaining cards in the same manner with your left hand, saying, "Sorry; it backfired." All the coins are seen to be in their original positions!

You will now perform a move Paul calls the "scoop." Your right hand moves toward the card at the upper left corner, and the classicpalmed coin is released and drops to your right fingertips. Your right hand flips the card face up onto the fingers of your right hand, covering the hidden coin and exposing the coin on the mat. Your right hand, with the face-up card and coin hidden under it, now scoops the coin from the mat onto the face of the card.

Your right thumbtip makes contact with the coin and holds it against the card. (See Fig. 1.)

Your left hand can help to accomplish this.

The card is now turned face down and the coin is apparently dumped into your left hand. What really happens is that your right thumbtip retains the coin against the face of the card as the hidden coin is released from the fingertips - it falls into your left hand. The card with the coin under it is now placed face down back to its position. From now on, this move will be referred to as "the scoop."

With your right fingers, take the coin from your left hand. Display it, and perform a coin pass vanishing the coin and keeping it secretly retained in right-hand classic palm.

Pick up the card at the upper right corner to display two coins. Place the card back onto the coins.

As a second thought, tell your audience that you will allow one coin to protrude from beneath the card so they'll know where the coins will collect. Hinge the card up just a bit, open long side toward you, lift off the shell and move it to the right about three fourths of the way off the coin it was on.

(See Fig. 2.) The shell should protrude a bit from beneath the right end of the card when the coins are covered. Replace the card. (See Fig. 3-)

Afterthoughts: I have other "reverse assembly" routines that have been contributed.

They're good, and I'll run them in the future.

Paul has been credited with the "reverse" concept, and this routine is simple and clean.

As your left hand picks up the three cards at the end, you can place each one onto the card in your right hand. These cards cover the nested shell and the palmed coin. When you put away the cards, leave the extra coins, and you're "clean."

Move to the lower left-hand card and perform the scoop. Vanish the coin and show three coins under the upper right card (one of these, of course, is the shell). Cover the three coins with the card but, as you do, secretly slide the shell back over the coin it previously covered.

PUBLISHED, WRITTEN, EDITED:

Harry Lorayne ILLUSTRATIONS: Greg Webb 266

Pat Cook

Double Deal (&, Lost Aces) This will take some practice, of course, but when you can do it smoothly, it's good.

During the routine, it's important that the

The double deal - dealing two cards to the table as one - is not an easy thing to do. Not easy to do cleanly, that is. Many of the older card books included effects utilizing the double deal. Most of the cardmen I know, bypassed those effects because they felt they could not get away with that sleight.

In working on Merlin's Lost Aces routine, Pat came up with a pretty clean, and WORKABLE, method. The routine is not his, of course, but the double-deal method is. It can be done cleanly only from a small packet - not from a full deck.

Assume you're holding a face-up packet of, say, ten cards. Hold it in straddle grip; that is, your forefinger and little finger are at the outer and inner ends, respectively.

(See Fig. 1.)

Your left thumb pushes off the face card.

It's pushed straight off to the right, for about half its width, or a bit less. Your right hand approaches to take this card, and to deal it onto the table.

Your right second finger goes under the card, and stretches a bit so that it goes between your left second and third fingers, and contacts the bottom card at its right long side.

(See Fig. 2) to see how it looks to the spectator, and (Fig. 3) for an exposed view.

If you press your second fingertip against the edge of the bottom card's right long side and pull outward at the same time, you'll move the bottom card to the right. It rides along right on the pushed-off card's back. Because of the straddle grip, the card will move straight out - perfectly aligned with the top, pushed-off card. Your left forefinger and little finger act as the "slot," the gauge.

double deals look exactly like the single deals. There must be no break in the dealing rhythm.

The moving card also stops properly aligned with the pushed-off card, because your right thumbtip acts as the "stop," or gauge, there.

(See Fig. 4.) Deal the perfectly aligned double card to the table. During the routine, the two cards are dealt onto other cards, so if they spread slightly as they're dealt, it's not that crucial.

All right; here, to refresh your memory, is Merlin's Lost Aces routine. As the four aces are being examined, remove twelve cards from the face-up deck. (It's better, in my opinion, not to mention how many cards you're taking, since there will be a discrepancy later on in the routine. )

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cards normally, then double deal again. Deal the next two cards normally. You're left with a double card; deal that, as one, onto the others.

Hold the 12-card packet face down and get a left little finger break beneath the top three cards. Display the four face-up aces (if you want the AS to be the "leader" ace, it should be lowermost) and place them onto the packet. With your right hand, lift off the 7card packet, and do Braue's Add-On as you show the aces again.

Pat's double-deal move is done twice - on the third and sixth cards. The double on the ninth card, as I said, is no problem. Don't count the cards as you deal, because you'd count only nine, and you're going to deal out twelve in a moment. It's easy enough to know when to double deal without counting - and be sure to keep the dealing rhythm constant.

This switches three aces for three indifferent cards. When it's done, the AS is on top, followed by three indifferent cards, then the other three aces. Any other method you know for switching three aces will serve the purpose.

Turn the packet face down and deal, singly, onto the four aces(?), from left to right.

There'll be three cards dealt onto each tabled card. All the aces are in the third-from-left packet.

Deal the (supposed) four aces onto the table in a face-down horizontal row; the AS must go to third-from-left position. You can flash the AS, if you like. This is up to you. If you flash it now it may be more difficult to force that packet later. On the other hand, you could say that the AS is the leader, and simply use that packet later; no force needed.

Use a magicians' choice (or any method you like) to force that packet (or simply use it, as I mentioned) - and go into the miracle ending.

As you talk about using the indifferent cards, turn the 12-card packet face up, and reverse-deal the cards into a tabled packet. Do the double deal on every third card. The last one is no problem at all.

Afterthoughts: It's the straddle grip that enables you to do the double deal neatly and imperceptibly - after some practice.

The fact that you can show all indifferent cards after placing the aces to the table is what makes this strong. The double deal, of course, can be useful in other routines.

So - deal the first card, then the second.

Double deal on the third. Deal the next two

Dennis Marks

Tbss Change With your left fingertips, push the bottom card to the right. If your right hand rests on the deck in proper position, the tip of the outer right corner of the pushed-out card will (automatically) just enter the fork of your third and fourth fingers.

Dennis tells me that the side-steal method used for this change belongs to the late Henry Bihari. (Henry showed it to him over 15 years ago. The same move, however, is in STERANKO ON CARDS and, in that took, Jerry Andrus is mentioned as having used a similar sleight.) When done properly, it's about the cleanest side steal I've seen because the card can be retained in the hand, and the hand looks both completely natural and completely empty.

At the same time, bend in your SECOND fingertip. The side (or pad) of that tip should (also automatically) contact the outer LEFT corner of the pushed-out card. Move your right hand, and the card, to the right, away from the deck. (See Fig. 2) which shows the exact grip of the right hand on the stolen card.

For this particular change, the card is stolen from the bottom, not the center, of the deck. Your right hand rests on top of the deck. Exact placement of fingers, for you, will be determined after some experimentation.

After some practice, the steal is instantaneous. The card practically "snaps" to position. The fingers are slightly spread and NATURALLY curled and, from the front, the hand appears to te empty.

I like to keep my first and second fingers toward the left side of the outer end; third and fourth fingers are clear of the deck. My right hand is on a slight diagonal. (See Fig. 1) which shows exactly how I hold the deck.

Because your right thumb and forefinger are free, you can grasp the deck at the outer

268

and inner right corners, as in (Fig. 3 ) . From here, grasp the deck at its lower left long side with your left fingers and tilt it face to audience. Your right forefinger indicates the face card. (Figs. 4 & 4A show this sequence.)

thumb and forefinger - near center of the ends.

The stolen card is beneath the deck. (Fig. 5.)

From the spectators' view, all looks natural.

Remember; this is a direct segue. The deck moves from the position in figure 4 right into the position in figure 5.

Hold your palm-up left hand under the deck.

Move your right hand to the left in the, sort of, "wind-up" motion and "toss" the deck releasing the stolen card at the same time; downward and slightly to the right, into your left hand. (See Fig. 6 ) , in which I've tried to depict the short tossing action.

It must look simply as if you toss the deck down from right to left hand. The to-theright toss action covers the coalescing of the palmed card to the bottom of the deck. Immediately flip the deck face up to show that the bottom card has changed. # The same side steal can be used for a "visible" face card color change. It's beautiful when done properly. Hold the deck face up, displaying the face card. Side steal the bottom card as explained.

The deck is now held with your left thumb across its width, thumbtip lightly touching your second fingertip. (See Fig. 7.) The point is that it appears impossible for another card to be placed onto the face card. (This idea was used way back in Tarbell #1.)

From this position, move directly into position for the "toss" change. Your left hand moves the deck downward as your right hand grasps the deck from above; between your right

For the change: In a covering (then back) motion of your right hand, the left long side of the hidden card goes between your left thumb and second fingertips; simply raise your left thumbtip ever so slightly. (See Fig. 8.)

269

for your right second fingertip to contact it automatically.

The card is deposited flush onto the face card, and as your right hand moves slowly back to the right, your left thumb and second fingertips come together again. Your left hand, and the deck, look exactly as before - but the face card has changed.

There are two simple solutions. Dennis suggests that the card be moved outward a bit as soon as its outer right corner is butted into the third and fourth finger fork. This clears its outer left corner for your right second fingertip.

I find it easier to contact the card's inner left corner with my right thumbtip AS the card_moves to the right. It's almost automatic and it enables me to keep moving the card. The instant its outer left corner clears the deck, my second fingertip contacts that corner and I remove my right thumbtip from its inner left corner. I'm in proper position. You'll have to try it once or twice to see how smooth an action it is.

8

Afterthoughts: Learn this; it really is a pretty steal and a most natural grip of the stolen card. Aside from the color changes, the stolen card can be replaced to top or bottom or almost any position - cleanly. Play with it. The card can also be cleanly lapped.

To do this side steal from center (which was Bihari's original method; stealing from peek position) - for normal side-steal purposes - is a bit more difficult only because the outer left corner of the card is not clear

Scott Weiser

Half-Shot

I'm pleased to be able to bring you these gems from Scott. I don't know how they'll read but I do know how good they are. Half-Shot is the magical appearance of a coin under a whiskey shot glass. (Under Glass Change is the magical change of a coin.)

As you do, release the palmed coin; it falls, flat, behind the glass. Your hand immediately moves to grasp the glass and your thumb is automatically BETWEEN glass and coin. (See Fig. 1.) Try to flatten the length of your thumb against the tabletop.

Besides a shot glass and an English penny or half dollar, you need a soft surface - a close-up pad is fine if it's a particularly thick or spongy one.

You're seated at the table; your audience is opposite you. This is not angle-proof, as you'll see. The whiskey glass is on your pad, the coin is classic palmed in your right hand.

Pick up and display the glass; I'll leave this to you - display it with your right hand, without exposing the palmed coin of course; do not overdo it.

Place it, mouth down, at center of your pad. As a continuation of the glass display you're going to display it, and your hands once more - your right hand approaches the glass, thumb behind and fingers in front.

Approach with your left hand, placing your second fingertip onto the top of the mouth-down glass. The outer side of your left thumbtip goes onto the very edge of the coin. It butts against it, actually. (See Fig. 2.)

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Try this, then check your mirror. You'll see that the coin is completely invisible.

This entire sequence, of course, should be done without fidgeting. It all takes a second or two. At least, it will after a few tries.

Press down with your left thumbtip. Because of the "give" of the pad, the other (outer) edge of the coin will rise slightly. That raised edge is pushed against the back of your right thumb (fingernail area) by your left thumb. (See Fig. 3.) Also, because of the "give," your left thumb can press downward until the inner edge is at about center of its fleshy pad.

Now, for the instant appearance of the coin INSIDE the glass. Start to lower hands, glass, and coin. If you like, you can say, "Watch!" Lower until you're about an inch and a half to two inches from the tabletop. Then, and this is difficult to explain but simple to do - release the coin an instant prior to sharply lowering the glass onto it.

Actually, it's a simultaneous action. The glass goes practically STRAIGHT down. When you try it, you'll automatically move it ever so slightly toward you, in order to capture the coin inside.

When the glass moves sharply down, remove your left hand. Again, it's really simultaneous; it's the removing of your left hand that releases the coin. And - immediately rattle the coin within the glass by rapidly moving the glass back and forth. (See Fig. 5.)

Raise both hands off the table, along with glass and coin. Raise everything straight up.

Your right second finger is the only right finger contacting the glass, except for the thumb.

Your left second finger is the only left finger contacting the glass. The coin is parallel to the tabletop. (See Fig. 4.)

Afterthoughts: In Figure 2, the space between the outer edge of the coin and the back of the right thumb is exaggerated. In action, there would be. no space at that point.

The coin's outer edge would be against the back of the thumb.

Don't pass this by; it's good. It takes a bit of practice but, after that practice, it IS an instant and magical appearance of a coin.

Scott does a quick routine with FOUR coins and a whiskey glass based on the same move. Even more practice, and care, is required but a stack of four coins can be handled and hidden in the same way.

The following quick, visual, coin change is also quite good. And, it can be worked to follow Half-Shot to form a lovely routine.

Remember - if you Xerox this magazine, you lessen its worth to YOU!

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Scott Weiser

Under Glass Change

For this, you need two contrasting coins, a half dollar and an English penny, and the shot glass. One coin is in right-hand classic palm, the other is on the table with the glass.

Without a pause, at the same time, release the palmed coin AND grasp the glass. (See Fig. 3-) Immediately move the glass back onto the just-released-from-palm coin and rattle the

Display the coin and the glass. Finally, place the glass, mouth down, over the coin.

About four inches from the table edge is about right. Pause, and stress that it's a, say, silver coin under the glass.

Approach the glass with your right hand from the right side. Move the glass off, and to the left, about an inch and a half or so, of the visible coin, then move your right hand back to the right of the coin. (See Fig. 1.)

coin within the glass as at the end of HalfShot. Remember; from the moment your right hand starts to move toward the glass, there is no pause or hesitation. Your thumb kicks the visible coin, the palmed coin is released, and your fingers grasp and move the glass back onto the released coin - all in one fluid motion.

The outer side of your right hand should be tilted downward and almost touching the tabletop as it moves. This covers the released coin.

Pause for a beat. The next series of (three basic) actions is done quickly and also smoothly; as one fluid motion. It appears only as if you reach for the glass and move it back onto the tabled coin - and rattle the coin inside the glass.

Your right hand moves toward the glass and - your right thumb kicks the visible coin off the table, into your lap! (See Fig. 2.)

Afterthoughts: It's an imperceptible, and very magical, change. Of course you have to experiment a bit - with distances; the distance that you place the glass to the left of the visible coin, the distance of glass and coin from the table edge, and so on. They're not that crucial, they don't have to be that exact.

Once you have the "feel" of the thing - it will flow for you.

You see, of course, how you can perform Half-Shot, producing a coin. Then, during the pause, as the production is "sinking in," palm the other coin from lap or pocket. Go into the Under Glass Change. It makes, as I've said, a lovely routine.

Can you think up a sentence - that makes sense, of course - that contains four "thaf's in a row?

The answer: Two schoolteachers are discussing a student's composition or essay. One teacher says to the other, "That 'that' that that boy used is correct."

Of course, it's easy to make it five "thaf's in a row. "That 'that that' that that boy used is correct."

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Looy Simonqff

Rub Out! Performance: Open the pad with its unprepared side up and openly print:

The moment the Papermate Pen Co. came out with its Eraser-Mate pen, I knew that magical applications would start to appear. This is the first such application to be contributed.

(For those who don't know what the Eraser-Mate pen is - it's a pen with an eraser at one end.

The ink will erase up to about two days, I believe. After that, it becomes permanent.)

Here's the effect in, basically, Looy's words:

WHAT THE NAME OF THE CARD IS!

Here's a use for those new Eraser-Mate pens. It's an adaptation of Norman Ashworth's mental slate effect, Before Your Eyes, from Annemann's PRACTICAL MENTAL EFFECTS.

Ribbon spread the deck and have your victim touch the back of any card. Slide the card out without showing its face, open the pad, and place the card face down on your prediction.

Show the card in place, hiding the prediction.

Close the pad and put it under your arm to be warmed by body heat. After a little talk, place the pad on the table with the prepared side up. Open it and turn the 10H face up, still hiding the prediction. (See Fig. 1.)

Effect: You write a prediction. A spectator selects a card. His card is the 10H, but your prediction turns out to be a gag. It is just what you said you had written: "What the name of the card is!" After the groaning, you tell him that the prediction is on sensitive paper which retains a print of his voice.

He applies a "voice print developer" and your prediction turns to "ten of hearts."

Show the prediction to have been a gag. ("I told you I wrote what the name of your card is!") Say that your body heat has sensitized the paper. Tear it out and hand it to your spectator along with the "developer," which is really a soft eraser. (Any eraser will do but a soft eraser meant for pencil rather than for ink, is best.) Have him name the chosen card aloud and then "brush" the prediction with the developer. The extra letters vanish, leaving him with a sheet of paper bearing the words:

Preparation: Obtain a spiral pad that looks the same on both sides. Mark one cover inconspicuously so that you will know it. On the first sheet beneath that cover, write: T E N OF HE ART S!

with a REGULAR ball point pen.

In matching Eraser-Mate, fill in the remaining letters to form:

OF CART3 JS!

Close the pad before anyone has had a good look at the prediction (not absolutely essential) and set it on the table.

T E N OF HE ART S!

(HL: I've hand printed the letters that you add with the Eraser-Mate, so you can see what's what.)

Afterthoughts (HL): Although people in your audience may know about the Eraser-Mate pen, this can still be an entertaining piece of business - and a fooler. Remember, the spectator has a "free" choice of a card.

Place the 10H face down on that page and close the pad cover over it.

Just in case you missed the notice in last 's issue - or if you forgot - if your subfeription started Kith the tlarw, 1979 issue, it's time to send ir> your subscription renewal now. Envelopes, labels, etc., are prepared about now, So please, make life easier for both of us - you won't.miss any issues, and I ean et all record-keeping in order. Send in your 30,00 renewal now> *"•'•'••• Foi*e-ign''STfbseribers please add postage for surface or air mail as indicated in the subscription, box on the rear page,

t

And remember, NSW subscribers ONLY receive the Dec., 1979 issue free if you subscribe starting with the Jan., 1980 (anniversary) issue. Last year, subscribers wrote to ask why Apocalypse stopped coming, they'd forgotten to send in their renewals:*- I yartnot : send out personal reminders. £Q IT. NOW. l .... .

273

Apocalypse Variations Or Additions the AH, 2H, and 3H, they'd be on top with the 3H on top, the AH second from top, and the 2H third from top.

Looy Simonoff's Flippant, in Vol. 1, No. 9. is something I have a lot of fun with. John Cornelius sent me the following idea utilizing it (which triggered my thinking to come up with a variation on his idea, and which follows his).

You have to control the joker, or the AS, or any card you'll call the "magic card" to the top - onto the selections. Or, leave it on the table before you start - simply place it face up on top when ready.

Control three selected cards to the top of the deck. Double lift; as you do, get a break under the card now on top - that is, the THIRD card. The double lift shows one selected card.

Prepare for, and do, Flippant with the three cards - two face up and one face down. The face-up card changes to another selection.

"Pinky" count two cards - or, prepare two cards any way you like. Do Flippant, and the second selection changes to the third selection - and, you're clean.

Calling the joker a magic card place, or turn, it face up on top and break three cards do Flippant. The first selection shows. Break four cards, do Flippant, and the second selection shows. Break three cards, do Flippant the third selection shows.

You're clean. Either end here, or - break two cards, do Flippant, and the joker re-appears. Your patter line would be, "It was all an illusion; it was the joker all the time."

Now, here's my variation on his theme.

Control three selected cards to the top in 3> 1, 2 order. That is, assuming the cards are

Jonathan Townsend

"Now!" hand, as in the illustration. Then your right hand takes the selected card in natural position and places it to the top as your left hand turns over the deck. The timing must be right so that the QH doesn't flash.

This effect is stunning, even shocking, to the person for whom you're performing. It utilizes a duplicate card, and it's worth it. The idea is Jonathan's; Ken Krenzel contributed a large part of the routining.

The preparation is to have the two duplicates (assume they're the QH's) on top of the deck. Turn the top QH face up, then turn the entire deck face up. Soj one of the QH's is now face down at the rear of the face-up deck.

You have to be seated at a table opposite your spectator. Work on a close-up pad, or other soft surface.

To perform: Spread the face-up cards from hand to hand as you ask the spectator to remove any card. Let's assume he selects the 6C. Be careful not to expose the face-down QH at the rear, of course. Let the spectator sign his name on the face of the 6C. (The signing is important; don't omit it.)

The next step is to get the 6C face up onto the top of the face-down deck without exposing the already face-up QH. Use any handling you like. The simplest way is to turn the signed 6C face down and place it to the rear of the face-up deck. Then flip over the deck.

You're in position.

All right; whichever handling you use, you're in position to do a double turnover of the two top face-up cards. Do so. Deal the top card (supposedly the signed 6C) face down in front of the spectator.

I prefer to pick up the selected card as if I'm starting a Curry Turnover Change. (See Fig. 1.) Don't do the change; simply lift the card up to the deck, then turn over your hand.

The lift and turn actually occur almost simultaneously. This can be done with the card on the table or on the spectator's hand. You can also, of course, hold the deck in vour left

Say that you will also select a card. Do a double lift, showing the QH. Place the deck aside and hold the two cards, as one, in your hand. Flip it face down. Say, "When I say 'now,' I want you to pick up your card, like this..." Hold your card(s) from above, right fingers at outer end, right thumb at inner end.

As you talk, demonstrate.

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Say, "Now!" Raise your card(s), face directly toward the spectator. He sees (again) the QH, of course. And, he assumes he's showing you the 6C. Both of you swoop down and up to look at your own cards. As you do, lap the face card of the double as you pass over the table edge. No pause; simply relax your thumbtip, releasing the card. (See Fig. I K )

"...Show it to me, like this..." Demonstrate. (See Fig. 2) for your view. "...Then turn it toward yourself, so you can look directly at it." Demonstrate this. The demonstrated actions are done with your right hand only. When you turn the card toward you it is done with a natural down then up swooping action. Your hand, and the card, pass over the table edge at the lowermost part of the downward swoop.

"Get ready to do that; I'll do the same thing. But don't do it until I say 'now.'

We'll do it together." As you talk, rest your card(s) on your left hand. Let the lower card of the double spring off your right thumbtip so that you can obtain a minute break at the inner end. (See Fig. 3.)

Don't move your hand all the way upward until the face of your card is directly toward you as you did when you demonstrated. Just stop with your card face down. Look at your spectator's face to see the stunned and confused expression there. He'll be staring at the QH, the card he just saw you holding! As he looks at you, turn over your card; it is the signed 6C that he thought he was holding!

Afterthoughts: Try this; it IS stunning to your spectator. It is possible to lap the face card of the double card without preparing the slight break; you'd riffle it off your thumbtip at the precisely proper time. With practice, this would work well. But - you're safer with the slight break. It can't be seen because you show your card to the spectator during the swoop, with face directly toward him.

Practice the lapping action; it must be done smoothly and with no hesitation. You are, of course, clean at the end.

Watch for the "blockbuster" January, 1980 (anniversary) issue!

A Lorayne Storm Perhaps this fits me better than anyone else because memory is my business - but try it with a "memory" patter.

Force a card. Let the spectator shuffle thoroughly. try to memorize the positions of every card in the deck. top.

Run through the cards, faces toward you.

That's all.

Take the deck and say that you'll

Spot the forced card and count from it to the

Ask for the name of the card. Say that this is difficult because you memorized the cards from face to back - you have to reverse it all in your mind. But you think that the (name the card) is at 22nd (or whatever) position from the top. He checks - you're right!

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Ellipses (...)

PERSONAL PET PEEVES IN MAGIC: "Volunteers" who are obvious stooges.

Seeing the same effect three times during one magic show.

Magicians who aren't - trying to be funny.

People who see or read an effect, change one immaterial action - and call the effect their own.

Gaffed cards that are a different shade than the rest of the cards.

Magazines, magic or otherwise, that continue an effect or article anywhere "but on the following page.

A layman who says, "Oh, I've seen that one" when all you've done is ask him to take a card.

The fact that resort hotels, etc., will book a singer, dancer, comedian after having booked a bad performer in those areas - but after having booked one bad magician will usually not book another magician.

Magicians with a "look how much smarter I am than you" attitude.

Magicians who tell you of the great feats they've done but don't do them.

Effects in magic books that don't work.

Politics, instead of magic, at magic meetings.

Contemporary magic writers who use words like "unbeknownst" and "whilst."

Most productions from the mouth.

Tricks with brassieres.

Close-up performers who do sleights as if they want the audience to see how cleverly they do them. (Sleights are SECRET maneuvers.)

Bright orange or red dragons painted on black magical equipment.

Most packet card routines that have to be taken out of a separate envelope.

Magic dealers who tell you how great their credit rating is and then never pay you. I'm fortunate - it's only happened to me once; a man who is, or was, a magic dealer in Sweden.

The way most television directors photograph magic acts.

Doing magic for drunks.

Parents who allow their children to run back and forth in front of the stage during a magic show.

Magic "writers" who steal other peoples' ideas and "cover up" by continually acting as if everyone steals from them, or writing about everyone stealing from everybody else.

Being asked to "do a trick" for someone who has just a minute to spare.

Anonymous letters or phone calls.

Stage performers who leave the stage to walk into the audience (so that most of the audience can't see what's happening).

Magic book reviewers who say a book is great when it's really lousy - or a re-hash or badly written^ The bad grammar, incorrect punctuation, in most magic books.

The fact that most magicians who bill themselves as the "World's best - or Greatest" are usually the "world's worst," or simply not very good.

Readers of magic who scream that a particular sleight or effect doesn't work when what they mean is that THEY can't make it work.

Plastic-coated playing cards.

Cheap mimeographed (and usually poorly written) instructions with expensive commercial items in magic.

People who list their personal pet peeves!

Most non-magical newspaper or magazine articles about magic and magicians.

Magicians (or hypnotists) who make fools of, and/or embarrass, audience volunteers.

NEXT MONTH Berkeley Davis' Five-One Transposition FaBuLouS - Finnell-Bonfeld-Lorayne Terry LaGerould's Pseudometry Ring Opening - Roland Hurley plus, Joel Siegel's "Capping" The Deck Flipped - Bernard Bilis Tommy Ellison's A Case Of Black Jack

APOCALYPSE is published every month by Harry Lorayne, at: 62 Jane St., New York, N. Y. 10014.

All checks are to be made payable to Harry Lorayne, and mailed to him at that address.

Individual issues - $3.00 each Subscription - $30.00 per year

Overseas subscription - $33-50 surface mail (U.S.A. dollars only) - $39.00 air mail - $40.50 airmail to Australia, Japan, So. Africa, etc.

276

Loraynes VOL.2 NO. 12

THREE DOLLARS

DEC, 1979

ocalypse ÂŤ COPYRIGHT 1979 by H. Lorayne, Inc.

ISSUE NO. 24

same crispness as the gimmicked bill. Leave your wallet on the table; it will be used as a paper weight during the routine.

This is Berk's handling of the Francis Carlyle effect. It's put together beautifully, and "plays" well. Get familiar with the handling - the folding, patter, and presentation - and you have a good almost-anytime effect to perform at the drop of a "do a trick."

2. Place the borrowed $5 aside on your performing surface. Without calling attention to it, casually display the gimmicked bill on both sides. Experimentation will show how easily and convincingly this can be done - basically, if your thumbtip covers the "5," the bill can be shown as you'd show an ungimmicked bill.

Preparation: Use a reasonably crisp (but not new) $1.00 bill. Carefully glue one of the "5's" from the bottom of the face of a $5.00 bill over the "1" on the lower left of the $1.00 bill. (See Fig. 1.) Place this bill in your wallet. Be sure to keep it separated from your other bills.

3- Say, to a spectator, "Would you help me? I want to try a very simple three-part test that will help me determine if you are going to be a good assistant. Okay? Fine."

Casually display the $1 again, showing both sides. Now fold the bill: The face of

To perform: 1. Remove the gaffed bill, look for a five and pretend not to have one.

Ask to borrow one. Get one that's about the

277

6. You're now going to place the $5 bill on top of the tabled bill. With your left forefinger, press on the tabled bill as you ask your spectator to let go. Pick up the $1 bill (it retains its exact relative position) and put the $5 bill on top of it (it also remains in same relative position).

At this point, it is important that you stress and show that your hands contain nothing but the two bills.

the bill (Washington) is toward you. Fold the right half to the rear; then the top half down to the rear (away from you); then the right

7- Hold the bills at your right fingertips as your left hand closes into a loose fist over, and covering, them. The back of your left fist is upward. Remove your right fingers for a second, as you explain: "I'm going to turn over one or both of the bills several times - like this..." As you say this, your right thumb and forefinger enter the loose fist and actually turn over the pair of bills together - not separately. Do this only twice. To confuse your audience, go through the same motions one more time, but don't turn the bills a third time.

half to the rear. The bill is folded into eighths. (See Fig. Series 2.) k. When the folding is finished, your left thumbtip should be covering the "5-" Reach

8.

over with your right hand and grasp the upper right portion of the packet, releasing the lefthand grip. Your right hand places the folded bill, "5" downward, onto the table.

Now turn over your left fist, so that

it is fingers upward, and say, "Now I am going to slowly open my fingers. When I do, it will become obvious which of the two bills is on top - the one or the five. Before I do that using your intuition only, please guess which bill is on top - the one or the five." Suppose he (or she) guesses "the one." Slowly open your fingers to reveal the "5" plainly showing on top. When you open your left hand, the bills are held in place (together) by pressing them down with your left second finger. (See Fig. 4.)

It's the fake "5" that shows, of course.

Say, "Aw, that's too bad. But you were close."

5. Say, "Please put your right forefinger here." (With your own left forefinger, indicate the center of the folded bill.) "Now, do not let go until I tell you to. Okay?"

Pick up the borrowed bill, and fold it: The face of the bill is toward you. Fold the right half, away from you, to the rear. Fold the bottom half up to the rear. Fold the left half to the rear. (See Fig. Series 3.)

KJ7 If he guesses correctly, simply say, "Terrific; how'd you know?"

The bill is, of course, also in eighths and, at the conclusion of folding, your right thumbtip is covering Lincoln's quarter face.

9.

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The next step is critical - but quite

14. The stage is set. Take the bill from under the wallet and hold it in your right hand, thumb on the same side as the "5." fingers underneath; the "5" is clearly visible to all.

Say, "Now for the simplest part of the test all you have to do is remember which one of us has the five dollar bill." As you say this, your left forefinger points to the "5>" and immediately cover the bill and encircle it with your left fingers - hand is palm up.

simple. Your right first and second fingers and thumb take the pair of bills so that the fake five is facing the audience. Your thumb is on your side and your first and second fingers are on the audience side, above the fake "5." so that it is clearly visible.

11. As you do this, your spectators see the $5 bill in your right hand. (The "5" is plainly visible - what else could it be!) And, presumably, the $1 bill is in your left hand.

Of course, just the opposite is the true state of affairs.

15. You're set to end. With whatever showmanship you can muster, do your stuff. No need for details here. After the buildup, Berk usually ends this way: "Now who has the five?"

He either points at your fist or simply says, "You do." When he does, say, "Okay, watch!"

Snap your right fingers over your left fist; then, without even looking at your left hand, open it and display the $1 bill. (This is important - you don't have to look at your hand.)

As you begin to open that hand, your right hand immediately takes hold of the upper right corner of the packet. Your left thumb immediately re-takes the left part of the bill, and you'll find that your left thumbtip is automatically covering the fake "5" at the rear. Just unfold the bill, keeping the "5" to the rear until it is fully unfolded. Then flip it around so the front of the bill faces the audience, and now your right-hand fingers cover the fake '"$â&#x20AC;˘" You'll have to go over this handling you'll see how simple and casual it can be.

(Personally, I prefer to cover the bill while my left hand is palm down. Then I turn the fist fingers up. The fake "5" is now out of sight - at the rear. If you do it this way when you open your hand, the bill springs open at one fold, and the "1" is seen immediately.

Your right hand takes the "sprung up" portion, and your left thumb takes the lower portion your left thumbtip covers the "5." Unfold from here.)

12. "Well, you passed the first part of the test (or "failed," as the case may be)...

Let's see how you do with the second part. If I were to give you the choice of the five (a tiny gesture with your right hand) or the one (a tiny gesture with your left hand), which would you choose?" Obviously, he'll say "The five." To which you reply, "Oh, I'm terribly sorry. That's the wrong answer. I'm going to keep the five."

16. Say, "Please open your hand." I promise you that if you have done the above correctly, you'll get a most favorable response from your audience.

The fake bill? Just open your wallet and stick it back inside - you're ready to go next time .

The borrowed $5 bill? Unless you can get away with not doing so, I recommend you return it to its rightful owner.

13- Here's where the wallet comes in.

You openly place the fake five (still folded) under the wallet in such a way that practically the entire packet is visible, especially the "5." In the meantime, your left hand continues to hold the real five on the tabletop. Say, "Please hold out your right hand, palm downward."

When he does, place the folded packet up against the palm of his hand and ask him to close his hand into a fist. Tell him that under no circumstances is he to open it before you say so.

Afterthoughts: Berk suggests that a simple technique makes it easy to remember the proper way to fold each bill - simply keep in mind which eighth of the bill is going to end up facing you after the folding process, and fold accordingly.

Using the wallet as a paper weight is optional, but you must have something handy for holding the bill down firmly. If not, it's possible that someone might see inside the folds. If so, you've "blown" it!

10. Your left first, second, and third fingers come over and cover the left half of the audience side of the fake $5 dollar bill.

Your thumb is at the rear. Now simply slide the rear bill, the real five, to the left with your left fingers. Your left fingers retain their positions, covering the real "5-" Your left hand places this bill to the table - as it contacts the tabletop, turn it one half turn away from you. Keep your left fingers on it.

PUBLISHED, WRITTEN, EDITED:

Harry Lorayne

ILLUSTRATIONS: Greg Webb 279

Finnell-Bonjeld-Lorayne

FABULOUS Pick up the remaining tabled and spread portion (face-up card at bottom) and place it onto the cards in your hand. (See Fig. 2.)

Say, "And, nobody could have known how many cards would be above this face-up card."

The consonants in the title stand for Finnell-Bonfeld-Lorayne-Sandwich. It started with Gene Finnell's effect, Trapped #2, which has already been in print. Murray Bonfeld showed me his variation of it; I came up with a different concept based on that, and Murray came up with a couple of variations on my variation!

Ill/

Now that I've got that out of the way - I can get into the effect, which really is a fooler. You have to be able to do a perfect faro shuffle. (Unless you know my Non-Faro Faro from my book, QUANTUM LEAPS.)

'6

â&#x20AC;˘ -

V A

i

Both Gene's and Murray's methods necessitated knowing the 27th card from the top of the deck before starting the effect. My basic contribution was to do the same effect, but with a legitimately shuffled deck.

After the full (52-card) deck has been shuffled, do a wide, face-down, ribbon spread on the table. The object here is to make sure that the bottom portion of the deck spreads cleanly and widely - you're going to have to mentally count some of those cards in a moment.

Square the deck. Place it onto the table and let the spectator cut (complete) a few times. "Incidentally, I have a favorite card; it's the queen of clubs." You name the card that fell at 26 when you reverse-dealt.

Tell your spectator to take any card from the lower half, turn it face up and replace it anywhere in that area. He's to do the same at the top (other end) of the spread. At this moment, there's a face-up card about a quarter of the way from bottom (left end) of the spread, and one about a quarter way from the top (right end) of the spread.

As soon as the face-up card is replaced near the bottom, mentally and secretly, count the face-down cards BENEATH it - to its left.

For explanation purposes, let's assume you count lU cards.

Remove the cards BETWEEN the two face-up cards (center portion) and square them. Turn this portion face up and, as you say, "You could, of course, have removed and turned any of these cards" - start to rapidly reverse-deal them from hand to hand. (See Fig. 1.)

This is the key. As you reverse-deal, mentally count the cards starting with the number AFTER the number you counted beneath the face-up card at the left end. In this example, start counting "15...16, 17, 18," etc. The object is to remember the card that falls on the count of 26.

Take the deck and cut for a perfect faro.

As you do, note whether the two face-up cards (they're together) are in the lower or upper half of the deck. You can, of course, note that before cutting for the faro. And, it's easy enough because of their opposite bend. If they're too close to center, simply cut once more, bringing them to about a quarter of the way from bottom or top.

Once you've reverse-dealt that card - assume it's the QC - you can take the remaining cards in batches, sloppily, to allay suspicion of counting(l). The entire thing must be done casually, as an indicatory action. The object, as I said, being to reverse-deal the cards and to remember the one that falls at 26.

If they're in the upper half, do a perfect "in" faro - the top card becomes second from top. If they're in the lower half, do a perfect "out" faro - the top card remains on top.

Turn this portion face down. Pick up the left, tabled, spread portion (face-up card on top) and place it onto the cards you hold. As you do, say, "Nobody could have known how many cards would be under this face-up card."

Cut, to center the reversed cards (optional) and do a wide, face-down, ribbon spread.

There's one face-down card between the two face-

280

I transfer the original center portion to my right hand - right thumbtip maintaining the break. I pick up the left tabled portion with my left hand. As I place it onto the righthand portion, I buckle the bottom card. This enables me to slip that bottom card into the break. (See Fig. 3.) The result is the same.

up cards. Turn up that card (or let the spectator do it). It's your "favorite" card - the queen of clubs!

That's my variation of the original Gene Finnell idea. (If you do the entire beginning with the deck face up, you don't have to do any reverse-dealing. You'd simply count to the 26th face-up card from the left end. Try it.)

Now, here are two of Murray Bonfeld's variations on THAT. First Variation: The shuffled deck is ribbon spread, two cards are removed, turned face up, and replaced - just as in the above.

Mentally count the cards to the left of the face-up card near bottom, also as in my variation. Again, let's assume there are Ik. Subtract this number from 25 (always); in this example, you arrive at 11.

Pick up the center cards - those between the face-up cards. Shuffle them, if you like, and spread them so that one can be selected.

As you spread, count to the 11th card (this example). After the selection, have the card replaced to UNDER these 11 cards. Do this either by squaring, holding a break, then lifting at the break for the replacement - or, simply split the spread there. In either case, the selected card goes under the 11-card packet.

To accomplish the prediction effect without using a move: You're at the point where you're holding the original center portion in your left hand; you have a little finger break beneath the 12th card (or whatever). Ask your spectator to indicate either of the two face-up cards. Whichever he points to (magician's choice) take the face-up card that's on top of the lower (left) portion and slip it below the face-up card at the bottom of the other (right) portion.

Now, finish exactly as in my variation.

The "trapped" card will be the selected card.

The interesting point here is that it isn't necessary to reverse the order of that center packet.

Split, at the break, the portion you're holding in your hands - the upper 12 cards are taken from above in your right hand. Use these as a scoop - your right hand places its cards onto the LEFT tabled portion and scoops it ONTO the cards in your left hand. In other words, the tabled portion goes between the packets in your hands - the right-hand packet (12 cards) ending up on top.

Second Variation: This is presented as a prediction effect. Glimpse the bottom card of a shuffled deck. Write its name on a piece of paper - or use the same card from another deck.

Either is your prediction.

Do exactly as explained - spread, have two cards turned face up, and mentally count the cards below the lower face-up card. For this, subtract that number from 26. So, again assuming that you mentally counted 14, subtract that from 26, arriving at 12.

Place the remaining tabled portion (two face-up cards at bottom) on top of all. Finish as explained.

Remove the center (between the two face-up cards) portion, and spread these cards as you point out that "any of them could have been turned face up." As you spread, secretly and mentally count to the 12th card (this example).

Square the cards, holding a left little finger break beneath the 12-card packet.

Afterthoughts: You'll have to decide which method and/or effect you prefer. I like, and use, all of them. I haven't included much patter; fill in your own. You may want to use a "detective card" theme, as Gene Finnell used originally.

Whatever you use, the basic concept is a fooler. And, if you can't do a perfect faro, this should encourage you to practice. And, if you still feel you can't do it, the Non-Faro Faro out of my book, QUANTUM LEAPS, fits pretty well. If you don't have that book - what can I tell you!?

Pick up the LEFT tabled and spread portion with your right hand. Hold it from above, at the ends. As you place it onto the left-hand portion, do the Ovette move - or Kelly's Bottom Placement - getting the bottom card of the right-hand portion INTO THE BREAK. Square.

Place the remaining tabled portion on top - and end as before. Your prediction will match the card between the face-up cards.

A west coast dealer is selling Gene Castillon's Noah's Mix-Up (Apocalypse, May, '78), No permission of course, or credit to, Gene, Apocalypse, or me. Lovely!

The interesting point here is that you can predict a card BEFORE your spectator reverses the two cards in the spread. Before I explain Murray's non-sleight method - I prefer to use a bottom card buckle instead of the Bottom Placement move.

281

Terry Lagerould

Pseudometry

Terry is a clever young man. He has some terrific take-offs and variations on some of my own stuff - particularly the pseudo-memory routines. From time to time I intend to run them here. This one is a beauty. There IS a bit of memory involved, but not much more than would be involved in any card routine.

What you've accomplished is - you know the top card is a 4-spot, and that the other fours are at 11th, 7th, and 15th, positions respectively (this example). Act as if you're concentrating, and finally say, "I've memorized all these cards and I don't remember seeing the (name the card you originally forced).

The idea is entirely Terry's; the handling is mine - that is, the dealing of three packets as you'll see. As you talk about your great memory, and as you're shuffling a regular deck, glimpse the bottom card.

That's the first part of the routine. Let the spectator take the card out of his pocket to show that you're correct. Place that card aside, as you say something to the effect that you'll prove that you've memorized all the cards.

Now, you have to force that card. Terry uses the simple, standard, Hindu-Shuffle force.

You Hindu Shuffle, the spectator stops you, and you show him the "stopped-at" card, etc. Give him that card and tell him to put it in his pocket, and not to let you see it.

FORCE the TOP card. Any force that keeps the rest of the deck in order will do. Terry uses the, again, basic and standard criss-cross force (spectator cuts; you place the bottom half onto the cut-off half to "mark the cut"). It fits as well as any here. The deck is cut back to original position when the "cut-to" card is exposed. I, personally, use a variation of the slip-cut force I explained in Tarbell #7.

Shuffle the deck and say that you're going to try to memorize every card - so that you'll know which one is missing - the one he selected.

You're going to run through the deck once, quickly, and "set" for your ending. Hold the deck, face toward you, and start to reversedeal the cards from hand to hand. (Fig. 1.)

Note the first (face) card, but don't count it.

Start your count on the next card.

Okay; turn up the forced card (4-spot) and leave it face up on the table. Concentrate, and then say, "Eleven!" You can let your spectator deal down eleven cards - into a face-down tabled packet. The order of the cards is reversed, of course. Or - you can do the dealing yourself, if you prefer.

Appear to concentrate again, and say, "Seven!" Seven cards (from the top) are dealt into a packet alongside the first one. Then "Fifteen!" A 15-card packet is dealt alongside the first two.

To prove that you remembered the positions of all the cards, turn up the top card of each of the three dealt packets - to show the other three 4-spots!

(See Fig. 2.)

The object is to remember the positions of the three mates of the first (face) card. So, let's assume that that card is a 4-spot. Count, mentally, until you come to the next 4-spot.

Let's assume it falls at 11th position. Simply remember 11.

At this point, Terry continues the count; 12, 13, etc. I don't. I start at #1 on the NEXT card. Let's assume the next ^4-spot falls at #7. (If you were continuing the count, it would be 18th.) Remember 7.

Start at #1 on the next card, and assume the last 4-spot falls at 15th position. Remember 15. You're remembering 11, 7, 15. (On a continued count, it would be 11, 18, 33.) Remember; this is done during one quick runthrough, reverse-dealing, of the cards. Mentally repeat the vital numbers as you go, and you should have no trouble remembering them.

Go through the entire deck, of course.

If you were using a "continued" count, you'd deal (or let your spectator do it), counting aloud, and place aside the 11th, 18th, and 33rd cards.

282

c

°Index for \folume Z 1979

The Effects: ASHES

Ash Vanish (Frank Garcia)

.No. 5, page 204

BILLS Bill Tear (Jim Ryan) Clip-Joint (Mike Bornstein) Coinswoggled (Gene Castillon) Five-One Transposition (A . Berkeley Davis )

°

No .3. page 175 No.9. page 244 No.6, page 209 No . 12 , page 277

BOSTON BOX Something Happened (Bob Gabrielle)

No. 5. page 197

BOTTLE (beer) Beer Bottle Polka (Gene Cosnoski)

No.9, page 251

CARDS Acrobatic Card Extension (Larry West) Alpha-Beta-Cent (Harry Lorayne) Black Jack (Paul Gertner) "Capping" The Deck (Joel Siegel) Case Of Black Jack, A (Tommy Ellison) Choice Aces (Eddie Fechter) "Cloning" (Father Cyprian) Close-Up Zigzag Card (Don England) Color Concept (Hiram Strait) Color Sandwich (Jean-Jacques Sanvert) Dai-Verse Color Change (Dai Vernon) Deuces Are Wild (Willie Brodersen) Double Deal (& Lost A c e s ) (Pat Cook) Double-Lift Finesse, A (Anonymous) "Duck-Too" (Larry B e c k e r ) Evening The Odds (Charles Randall) Fabulous (Finnell, Bonfeld, Lorayne) Follow Along (Ron Frost) For Ambitious Experts (Tony Noice ) Forgetful Gambler, The (Tom Gagnon) Goody Goody (Tom Craven) Growing Coin, The (Bernard Bilis) "I'm Lucky" (Albert Charra) "I've Got Twenty" (Anonymous) Jumping Card, The (Jeff McBride ) Kick Key (Michael Ammar) Lightning Stab Change (Bruce Ikefugi) Mentalias II (J. K. Hartman) "Misery" (Eric Mason) Myriad Cut (William Morales) New Charlier Pass (Tom Ransom) "Now!" (Jonathan Townsend) Numeral-Oh-Gee (Amazing Randi ) One-Way Tally-Ho (Harry Lorayne ) Poker Challenge Revisited (Harry Lorayne) Pres"Sure" Location (Ted Biet) Pseudometry (Terry LaGerould) Quick Hofzinser Quick (Richard Kaufman) Ribbon Candy (Ron Ferris) Rub Out! (Looy Simonoff) Snap Toss (Frank Garcia) Spell-A-Name Force (Dave Lederman) Straighten Out (Dai Vernon) Thirty-Two (Norman Houghton) Toss Change (Dennis Marks ) Triple Triumph (Jean-Jacques Sanvert)

„

No .3. page 171 No.l, page 151 No .6, page 21*+ No.12, page 287 No. 12, page 285 No.8, page 229 No. 5, page 193 No. 5. page 202 No.5, page I98 No.9i page 241 No.l, page 145 No . 2 , page 162 N o . 11, page 26?

No. 7, page 222 No. 2, page 157 No.10, page 259 No.12, page 280 No. 3, page 176 No . 7 , page 219 N o . 3 , page 172 No. 10, page 262 No.6, page 214 No.6, page 211 No.9, page 24?

No. 5, page 199 No .7, page 220 No. 8, page 234 No.l, page 155 No. 8, page 236 No. 9, page 243 No .4, page 189 No. 11, page 274 No . 6 , page 205 No .10, page 2 6 1 N o . 2 , page 164 No.4, page 181 No .12, page 282 No. 10, page 253 No.9, page 246 No. 11, page 273 No .7, page 228 No.2, page 158 No.5, page 196 No.7, page 225 No .11, page 268 No.6, page 207

Two-Faced (Sid Lorraine ) Ultimate Transposed Cards (Nick Pudar)....

Unkindest Cut Of All (Allan Slaight) Zippy Zig-Zag (Jon Racherbaumer)

No .?, No.7, No.4, No .1,

page page page page

224 226 186 147

COINS All Around The Town (Bernard Bilis) "Circles" (Bob Fitch) Coin Box S & I (Kirk Stiles) Coinswoggled (Gene Castillon) Double Transfer Coin Production (Bob Fitch) Flipped (Bernard Bilis) Four Finger Finale (Paul Harris) Growing Coin, The (Bernard Bilis) Half-Shot (Scott Weiser) Jumbo Coin Jumbo (Allan Hayden) Observation Test (Lenny Greenfader) One To Five (Sol Stone) One To Go (Woody Landers) Perfection Transposition (Ken Krenzel)

No .10, page 263 No.9, page 248 No.3, page 178 No.6, page 209 No.4, page 187 No. 12, page 284 No.4, page 191 No.6, page 214 No.11, page 270 No . 6 , page 212 No . 2 , page 161 No. 5, page 200 No .10, page 261 „ . . No 8 Dace 2 T ^

Relentless (Bill Voss)

No;8;

Reverse Assembly (Paul Gertner) Something Happened (Bob Gabrielle ) Spellbound Switchcraft (Patrick Page) Triangle Angle (Mike Bornstein) Under Glass Change (Scott Weiser) Untouched (Jon Brunelle) Wave Change (Scott Weiser) DICE

„ \

Dice Interlude, A (Les Scheyer) Double Surface (Harry Lorayne)

No

'.Ko'.l',

£ a | e 2j{

No.11 page 265 N o 5' vaRe 197 !..No!l' page 153 !....!. No '.3 page 169 .'!.'! !NO 11' page 272 No 8* naap 2?8 V.Y. .Z'.2, page 166 4

_ Hgt

l8

I85

GAMBLING DEMONSTRATIONS Black Jack (Paul Gertner) "Capping" The Deck (Joel Siegel) Forgetful Gambler, The (Tom Gagnon) "I've Got Twenty" (Anonymous) Poker Challenge Revisited (Harry Lorayne ) Unkindest Cut Of All (Allan Slaight)

, .-

No.6, page 214 No. 12, page 287 No.3, page 172 No.9, page 247 No . 2 , page 164 No.4, page 186

GLASS (whiskey) Half-Shot (Scott Weiser)

No. 11, page 2?0

Under Glass Change (Scott Weiser)

No.11, page 272

KIIIFE (kitchen) Sleevebone Connected To The Chestbone (Looy Simonoff)

No. 7, page 222

MATCHES It' s Match-Ic (Tom Mullica )

No . 7 , page 217

MENTAL Cut Above, A (Marcello Truzzi)

No.2, page 159

Evening The Odds (Charles Randall)

No.10, page 259

NUMBERS "No Memory" Magic Square (Terry LaGerould )

No . 5 , page 195

Numeral-Oh-Gee (Amazing Randi)

No.6, page 205

RING (finger) Chain(R)ing (Bill Wisch) Ring Opening (Roland Hurley) ROPE Sliding Knot, The (John Cornelius)

No.10, page 257 No. 12, page 283 „ and...

No .1, page 149

APOCALYPSE VARIATIONS OR ADDITIONS

EDITORIALS (Harry Lorayne)

LORAYNE STORM, A (Harry Lorayne)

OUT TO LUNCH (Harry Lorayne )

No.4, page No.11, page No.l, page No.6, page No.9, page

190 274 156 216 252

No.l, page 154 No.3. page 179 No .5, page 201 No. 7- page 227 No.8, page 239 No.11, page 275 No.2, No.5, No.9, No.12.

page page page page

The Contributors: Ammar, Michael

Pg.220

Becker, Larry Biet, Ted Bills, Bernard Bonfeld, Murray Bornstein, Mike Brodersen, Willie Brunelle, Jon

Pg.157 Pg.lSl Pg .21^, 263, 284 Pg.280 Pg.169,244 Pg.l62 Pg.238

Castillon, Gene Charra, Albert Chesbro, Verne Cook, Pat Cornelius, John Cosnoski, Gene Craven, Tom Cyprian, Father

Pg.209 Pg.211 Pg.171 Pg.267 Pg. 149, 274 Pg.251 Pg.262 Pg.193

Davis, A. Berkeley

Pg.277

Ellison, Tommy England, Don

Pg.285 Pg.2 02

Fechter, Eddie Ferris, Ron Finnell, Gene Fitch, Bob Frost, Ron

Pg.229 Pg.246 Pg.280 Pg. 187, 248 Pg.176

Gabrielle, Bob Gagnon, Tom Garcia, Frank Gertner, Paul Greenfader, Lenny

Pg.197 Pg.172 Pg.204, 228 Pg.214, 265 Pg.l6l

Harris , Paul Hartman, J. K Hayden, Allan Houghton, Norman Hudson, Charles Hurley, Roland

Pg . 191 Pg.155 Pg.212 Pg.225 Pg.204 Pg.283

Ikefugi, Bruce

Pg.234

Kaufman, Richard Krenzel, Ken

Pg.253 Pg.235,274

I67 203 251 288

LaGerould, Terry Landers, Woody Lederman, Dave Lorayne, Harry Lorraine, Sid

Pg. 195. 282 Pg.26l Pg.158 Pg.151,154,164,167 , 185,227,239,261, 280 Pg.224

Marks, Dennis Mason, Eric McBride, Jeff Meyer, Orville Morales, William Mullica, Tom

Pg.268 Pg.236 Pg.199 Pg. 228 Pg.243 Pg.217

Noice, Tony

Pg.219

Page, Patrick Pudar, Nick

Pg-153 Pg.226

Racherbaumer, Jon Randall, Charles Randi, Amazing Ransom, Tom Rosenfeld, Sam Ryan, Jim

Pg.l47 Pg.259 ..Pg.205 Pg.l89 Pg.190 Pg.175

Sanvert, Jean-Jacques..Pg.207,241 Scheyer, Le s Pg . I83 Siegel, Joel Pg.287 Simonoff, Looy Pg .222 , 273, 274 Slaight, Allan Pg.186 Stiles, Kirk Pg.178 Stone, Sol Pg.154,200 Strait, Hiram Pg.198 Strauss, Ed Pg.l80 Townsend, Jonathan Truzzi, Marcello

Pg.274 Pg.159

Vernon, Dai Voss, Bill

Pg.145,196 Pg.231

Weiser, Scott We st, Larry Wisch, Bill

Pg . 166 , 270, 272 Pg . 171 Pg.257

Artwork...Bill Steinacker Greg Webb

The Sleights Described WITHIN Routines: Add-On To Tabled Cards (Lorayne) Pg.286 Center-Bottom Card Cut (Fr. Cyprian)...Pg.194 Double Shank Shuffle (J-J Sanvert) Pg.2O8 False Swivel Cut Pg.244 Four-Ace Control (Eddie Fechter) Pg.229 Henry Christ Force Pg . 155 Instant Sandwich Catch (Lorayne) Pg.285 K-M Move Pg . 254 Okito Box "Bounce" Move Pg.179 Okito Box Turn-Around Move Pg.178 Packet Reversal (Ted Biet) Pg.182 Reverse Faro Pg . 186-7 Scoop, The (Paul Gertner) Pg.266 Secret Add-On (Fred Braue ) Pg.173 "Subtraction" Move (Lorayne) Pg.286 Switchless Switch, The (Ed Mario) Pg.148 Utility Coin Switch Pg.285 Visual Retention Change (Ed Mario) Pg.174 Voss Toss (Bill Voss) Pg.232

The Issues: No.7; July, 1979 (pages 217 to 228): No.l; January, 1979 (pages 145 to 156): Dai Vernon Dai-Verse Color Change Jon Racherbaumer Zippy Zig-Zag John Cornelius The Sliding Knot Harry Lorayne Alpha-Beta-Cent Patrick Page Spellbound Switchcraft A Lorayne Storm J. K. Hartman Mentalias II Editorial

Tom Mullica It's Match-Ic Tony Noice For Ambitious Experts Michael Ammar Kick Key Anonymous A Double-Lift Finesse Looy Simonoff Sleevebone Connected to The Chestbone Sid Lorraine Two-Faced Norman Houghton Thirty-Two Nick Pudar Ultimate Transposed Cards A Lorayne Storm Ellipses (...)

No.2; February, 1979 (pages 157 to 168): No.8; August, 1979 (pages 229 to 240): Larry Becker "Duck-Too" Dave Lederman Spell-A-Name Force Marcello Truzzi A Cut Above Lenny Greenfader Observation Test Willie Brodersen Deuces Are Wild Harry Lorayne Poker Challenge Revisited Scott Weiser Wave Change Out To Lunch Ellipses (...)

Eddie Fechter Choice Aces Bill Voss Relentless Bruce Ikefugi Lightning Stab Change Ken Krenzel Perfection Transposition Eric Mason "Misery" Jon Brunelle Untouched A Lorayne Storm Ellipses (...)

No.3; March, 1979 (pages 169 to 180):

No.9; September, 1979 (pages 24-1 to 252):

Mike Bornstein Triangle Angle Larry West Acrobatic Card Extension Tom Gagnon The Forgetful Gambler Jim Ryan Bill Tear Ron Frost Follow Along Kirk Stiles Coin Box S & I A Lorayne Storm Ellipses (...)

Jean-Jacques Sanvert Color Sandwich William Morales Myriad Cut Mike Bornstein Clip-Joint Ron Ferris Ribbon Candy Anonymous "I've Got Twenty" Bob Fitch "Circles" Gene Cosnoski Beer Bottle Polka Out To Lunch Editorial

No.4; April, 1979 (pages 181 to 192): No.10; October. 1979 (pages 253 to 264): Ted Biet Pres"Sure" Location Les Scheyer A Dice Interlude Harry Lorayne Double Surface Allan Slaight Unkindest Cut Of All Bob Fitch Double Transfer Coin Production Tom Ransom New Charlier Pass Apocalypse Variations Or Additions Paul Harris Four Finger Finale Ellipses (...)

Richard Kaufman Quick Hofzinser Quick Bill Wisch Chain(R)Ing Charles Randall Evening The Odds Harry Lorayne One-Way Tally-Ho Woody Landers One To Go Tom Craven Goody Goody Bernard Bilis All Around The Town Ellipses (...)

No.5; May, 1979 (pages 193 to 204):

No.11; November, 1979 (pages 265 to 276):

Father Cyprian "Cloning" Terry LaGerould "No Memory" Magic Square Dai Vernon Straighten Out Bob Gabrielle Something Happened Hiram Strait Color Concept Jeff McBride The Jumping Card Sol Stone One To Five A Lorayne Storm Don England Close-Up Zigzag Card Out To Lunch Ellipses (...)

Paul Gertner Reverse Assembly Pat Cook Double Deal (& Lost Aces) Dennis Marks Toss Change Scott Weiser Half-Shot Scott Weiser Under Glass Change Looy Simonoff Rub Out! Apocalypse Variations Or Additions Jonathan Townsend "Now!" A Lorayne Storm Ellipses (...)

No.12; December, 1979 (pages 277 to 288):

No.6; June, 1979 (pages 205 to 216): Amazing Randi Numeral-Oh-Gee Jean-Jacques Sanvert Triple Triumph Gene Castillon Coinswoggled Albert Charra "I'm Lucky" Allan Hayden Jumbo Coin Jumbo Bernard Bilis The Growing Coin Paul Gertner Black Jack Editorial

A. Berkeley Davis Five-One Transposition Finnell-Bonfeld-Lorayne FaBuLouS Terry LaGerould Pseudometry Roland Hurley Ring Opening Bernard Bilis Flipped Tommy Ellison A Case Of Black Jack Joel Siegel "Capping" The Deck Out To Lunch .al index insert - Volume 2, 1979.

HL

Afterthoughts: Your forces have to be clean, and your acting good - and your specta^tors MUST believe that you've memorized the entire deck in one quick run-through.

let a spectator do it - I place the 11th, 7th, and 15th cards off the packets onto the table.

This leaves the three memorized cards on top of the packets!

I sometimes make it stronger - but you do have to use some memory in order to accomplish it. Using the same example as in the text, I'd remember 11 AND the card that falls in front of the 4-spot - the 10th card. I'd remember 7 and the card in front, and then 15 and the card in front.

To prove I've memorized the entire(?) deck I indicate the three packets - top cards - and say, "If my memory is working properly, that should be the , the , and the ."

I simply name the three memorized cards, and show them. The "kicker" is to turn up the three face-down cards, exposing the 4-spots.

I Remember - if you Xerox this magazine, I ' you lessen its worth to YOU! '

Now, when I deal the three packets - or

cRoland hurley

RING OPENING finger and the linked set onto your left third finger - the linked ring hangs in your hand, out of sight. (See Fig. 1.)

Once you obtain and prepare the rings for this quick opening effect, you can use them forever. What follows is Roland's basic handling, in basically his own words. There's a lot you can add to the handling, and to the effect itself, if you want to, although it's just fine as is.

To perform: Remove the ring from the little finger of your right hand and openly drop it into your right hand. Let the ring fall a distance of about six inches to stress and display to the spectators exactly what is happening. (See Figs. 2 and 3.)

Effect: As an introduction to a close-up session, the magician explains that magicians never wear rings while performing and removes the ring from the little finger of his right hand. He drops this ring INTO his right hand.

Your right hand then moves toward your left hand to remove its ring. Your left hand is held palm toward body, little finger parallel to the floor. As your right hand removes the linked set, being careful that only the

His right hand then removes the ring from his left third finger and both rings are shaken in the right fist like dice. When they are tossed onto the table, the rings are seen to be linked.

Or, they may be placed into the spectator's hand and discovered linked when the spectator opens his hand.

Preparation: Three rings are required for this effect. Two matching rings sized to fit the magician's right little finger. The third ring is slightly larger than is required to fit the magician's left third finger.

Have a jeweler permanently link one of the matching rings into this larger ring. The larger ring should slip easily onto the left third finger after the smaller ring is linked into it.

Slip the small ring onto your right little

283

magical gesture, he discovers them linked. (See Fig. 6.)

larger ring is seen, the tip of your left little finger slides into the ring that's in your right hand (See Fig. k) and steals it by curling toward your left palm. (See Fig. 5) which shows the ring just after it's been stolen.

An alternate method would be to have the small ring on your right hand attached to a reel going up your sleeve. Then, after removing the small ring, it flies safely up your sleeve and all that remains is to remove the linked set, shake and display them linked. Your hands are clean.

The reel suggestion is

by Mike Dubreuil, and is ideal when the magician wants to finish clean.

Afterthoughts (HL): What a direct and simple effect this is - and how strong it can be if you present it properly!

All that remains is to shake the linked set in your right hand and display them linked.

Or, the rings can be placed into a spectator's hand and when he opens his hand, after your

Bernard Bilis

Flipped

This is an interesting quickie - and a fooler. You'll need two half dollars, one English penny, and one gimmick - a double-sided coin; half dollar on one side, English penny on the other.

in - and to work the coin to finger-palm position (if it isn't already there).

Toss the two visible half dollars onto your left palm to join the (now) copper coin,

The regular English penny is finger palmed in your right hand. The gimmick, silver side up, is between the other two silver coins, also in your right hand. It's a slight fan of three coins. The upper regular coin is to the right, and the lower regular coin is to the left. The gimmick is between them, held in place at its edge. You're displaying three half dollars.

Hold your palm-up left hand beneath, and a_bit away from the three-coin display. (See Fig. 1.) Now, press the two end coins as you spread them slightly apart (move the coin your thumb is on to the right) - the center coin will snap out and fall onto your left hand.

Most often, it will do an instant flipover in the process. If it doesn't, no problem, simply place it back between the other two coins and do it again.

When it flips over, it's an instantaneous change from silver to copper. (See Fig. 2.)

Pause for only a beat, to let the change sink

284

then toss all three back into your right hand, doing the Utility Coin Switch. That is, the gimmicked coin remains in left-hand finger palm, as the two silver coins join the real English penny in your right hand. (See Fig. 3. )

Pause for a beat to display them on your right palm - then toss them onto the table. As your spectators look at those three (regular) coins, casually pocket the left-hand fingerpalmed gimmick. You're clean.

Afterthoughts: Watch your angles when you do the original display. You have to be sure not to expose part of the finger-palmed copper coin. You might try classic palming it - the angles are a bit cleaner. Either way, it's a good quickie, or lead-in to another routine.

CHRISTMAS

Tbrnnny Ellison

**>4 HAPPY CKANUKAH I

A Case Of Black Jack case. You might make a remark about this being the "jack in the box."

Tommy tells me that his inspiration for this routine was seeing Dave Solomon perform his (Dave's) own effect called Jack In The Box. Tommy came up with his own version, and some time later, Jon Racherbaumer published Solomon's routine in M.U.M. This is Tommy's simplified version.

Place the cardcase aside and have your spectator select a card - free choice. This has to be controlled to the top, above the JS. Easiest way is to "kick" cut half the deck into your left hand, the card is replaced onto this half and the right-hand half dropped onto it; hold a momentary left little finger break.

Either pass, or double cut, to the break.

Run through a shuffled deck and cull out the four aces; secretly set the JS to the top, as you do. Display the aces in a face-up fan; AD at face, followed by the AH, then the black aces. The face-down deck is in your left hand.

At this point, you're going to pick up the tabled aces - secretly adding the selected card onto them. Tommy simply palms off the top card and adds it to the ace packet as he scoops it off the table. I don't use a palm here; I'll tell you what I use in the Afterthoughts.

Turn the aces face down and square them against the deck, stealing the AD onto the top of the deck. Drop the three aces (supposedly four) in a face-down packet, onto the table.

Any "subtraction" move will do here - I use a simplified version of my own move, originally described in To Catch An Ace #5, in REPUTATIONMAKERS. I'll explain it in the Afterthoughts.

Assuming you've palmed the selected card onto the aces, turn the packet face up to flash the AH at face. Turn it down again, and reverse-count the four cards to the table. Use the last card, the AH, as a scoop to pick up all the cards. Flash the AH at face and say that you'll place the red aces into the cardcase to keep the JS company.

As you talk, turn your hand palm down and deal the two bottom cards - AH and selected card - onto the table, face down and one onto the other. (See Fig. 1.) Turn over your hand and spread the two remaining cards to show the black aces. "These will find your card for me."

Drop the black aces, face up, to the table.

Pick up the cardcase and place the top, facedown, red ace (really the selected card) into the case and onto the card already there. Flash the next red ace (AH) and place that into the case and onto the two already there. Drop the case to the table.

Double lift, exposing the JS. Ask your spectator to open the cardcase and make sure it's empty. Turn down the double and place the supposed JS, really the AD, face down into the

Pick up the two black aces and do my Instant Sandwich Catch (Apocalypse Vol. I, No. 1, page 4 ) . Briefly: Break the top card of deck.

Place face-up black aces on deck. Steal broken

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card beneath them. Do standard "sandwiching" top ace slid to beneath remaining ace. Aces are "run" through deck and spread at same time.

Appears as if aces have "caught" a face-down card. It's the JS. The cardcase is opened, three cards removed, to show that the two red aces are sandwiching the selected card!

Instead of the palm-off - for the selected card - I use my own move, described in REPUTATION-MAKERS (The Lorayne Double-Lift Breakthrough) as a version of a "single-card double lift."

Afterthoughts: It is a simple and magical routine. The strength of it is that the card is selected AFTER the JS is placed into the cardcase - so far as your audience is concerned. Also, I think the effect would be stronger if both the JS and the selected card were signed (on their faces) by a spectator.

The "subtraction" move I use - to steal the AD onto the deck - is this: The AD is on top, then the AH, then the black aces. I turn the aces face down, square them, and as I count them, my left thumb takes them singly onto the face-down deck. They're taken in outjogged position. (See Fig. 2) which shows the first ace (AD) having been counted and taken. Note the position of the left forefinger - it's at the outer end of the outjogged ace.

The move is done as I take the second ace the same way. AS my left thumb takes it, my forefinger (left) snaps down the AD. That's all. (See Fig. 3) for a stop-action view.

There must be no hesitation. It's instantaneous, and can't be seen; the second ace going onto the first ace covers all. Without breaking rhythm, count and take the next two aces the same way. Take the three-card block from above and drop it to the table.

Get a left little fingertip break under the top (selected) card. Now, pick up the ace packet with your left hand. (See Fig. k.) Your forefinger bends in bringing the packet onto the deck, as you raise your hand. As you turn the hand palm up, your forefinger pushes the entire deck inward. This does two things - it aligns the broken, selected card with the three aces, and it creates a wide space, a gap, between the four cards and the deck. (See Fig. 5.)

Take the packet at its inner right corner as your left hand drops the deck proper to the table. The move creates a perfect illusion of simply having picked up the aces. If you want a more detailed description, check REPUTATIONMAKERS. If you use this, the selected card is on bottom, not top, of the ace packet. So - you can't flash the face card at this moment. What I do is to count the aces(?) from left to right hand without reversing their order. I casually, and openly, slip the last one (selected card) above the third ace (AH). That's it I'm in required position to continue.

The next issue that's mailed to subscribers will be the January, 1980 - anniversary - issue.

It is scheduled to be mailed during the first week of December. It is a blockbuster of an issue.

If your $30.00 subscription renewal (foreign: $33.50 surface mail; $39.00 airmail; $40.50 airmail to Japan, Australia, South Africa, etc.) is not received by me within the next ten days or so - that issue will NOT be mailed to you. Don't miss out. If you haven't already sent in your subscription renewal, or new subscription, stop procrastinating, - DO IT NOW;

Joel Siegel

"Capping" The Deck "loosen" the down-jogged card. (See Fig. 2.)

And Figure 3 is a stop-action view, just as the deck is being "capped." The backs of your right fingers cover the jogged card throughout.

Joel tells me that this is a move used under fire in poker games. It's used when the dealer wants to "feed" a card to his partner, who is to his left. The partner flashes his hand, so that the dealer knows that he needs, say, a 3-spot. If the dealer has a 3-spot in his hand, before the draw, he feeds it. He does this "by capping the deck. The move can be done imperceptibly.

4

CARDS

The dealer has just dealt the hands in a draw poker game. He places the deck in front of himself - perhaps a bit to his right - a long side toward himself. His partner "flashes;" the dealer knows his partner needs a 3spot, and he (the dealer) happens to have one in his hand. This is the moment when all players are "casing" their cards.

Assuming you're the dealer, place the 3~ spot at the face of your five cards. Square the cards and down-jog the 3-spot about half an inch with your left fingers so that you're in the position shown in (Fig. 1 ) . Note that the tip of the right little finger rests at the

side of the 3~sP째t only - it isn't touching the four-card block. After you're familiar with the move, you'll have to experiment with the positioning of your right thumbtip. You may want to place it a bit lower than as shown in the illustration.

Afterthoughts: You'll have trouble releasing the four card block cleanly the first few tries. After that, it will start to happen. It IS imperceptible; it's impossible to see the one card being placed onto the deck if the move is done properly. Think only of picking up the deck - THAT'S how it should look your hand is tossed onto the discards as PART of that action.

The next action appears as if you toss your hand (your five cards) onto the other discards as, AT THE SAME TIME - part of the same move - you pick up the tabled deck. This is done, remember, in one motion and with only your right hand.

Remember to let your right thumbtip act as the "stop." The down-jogged card (it becomes jogged to the right as you do the move) will go properly flush onto the deck that way.

As you say, "I'm out," your right hand reaches for the deck. Your thumbtip acts as the "stop." As it touches the side of the deck the down-jogged card goes flush onto the deck as the other four cards are tossed onto the other discards. The block is released by opening your right fingers, of course. Without a pause, pick up the deck, place it into your left hand, and turn to the player to your left (your partner), asking, "How many cards do you want?"

For magical purposes, I've tried the move with the deck held in my left hand. The covering action then is the tossing of, say, five cards onto the table as I ask the spectator to place his hand on them. In this case, it's not a "capping the deck" move, it's simply the steal of one card. I haven't worked out a routine for it, just thought I'd mention it.

The basic capping move can be done with two cards by down-jogging two cards. And, it can also be done while holding the five-card packet at the ends instead of at the sides.

The deck would then have to be tabled with an end facing you.

That's the basic move. You'll find it a bit easier to release the four card block if you slightly squeeze the sides of the cards a bit, bending the sides upward. This tends to 287.

Out To Lunch

continued from page 251

I accompanied him into a fancy, very expensive, butcher store on sixth avenue, near 58th street. The place was jammed - mostly with women, doing their shopping. Richard never waited on lines.

He shouted, "Do you have any good filet mignon?" The proprietor tried to ignore him, but that was impossible with Himber. He kept shouting. Realizing that the best way to get Himber out of his hair was to get him out of his hair, the proprietor said, "yes."

One of Billy Reed's ideas of romantic atmosphere was to turn the lights lower every hour, starting at 10PM. I assure you that by 3AM (I used to work until 4-5 in the morning), I was doing unbelievable miracles!

Nobody could see a thing. Someone's card might be the 4D; I'd find the 9H (I'd be drunk enough), and say, "And there's your card!" And, they'd applaud; no one knew the difference!

In those days my wife, Renee, was working She had to leave the apartment at about 7AM every morning, I was working until about 5AM every morning. I lived at the tip end of Brooklyn, and at that time of day, it took a long time for me to get from 55th Street and Park Avenue in Manhattan to my home in Brooklyn by subway. I could wait as long as an hour for my train.

as a model.

Himber, immune to the multitude of dirty looks from the other customers, shouted, "Grind up four pounds." The proprietor asked, "Grind filet mignon!?"

"Yes," answered Himber. When it was ground, Himber said, "Grind it again." This was done. The proprietor wrapped the meat in his fancy wax paper, put the package on the counter in front of Himber, and said, "That'll be fourteen dollars."

I'd finally arrive - just made it because I was pretty well stoned - I'd fall into the apartment as Renee opened the door and stepped over me as she left for work! This happened every morning. We rarely saw each other.

Himber slammed his palm on the counter, and screamed angrily, "Fourteen dollars for HAMBURGER MEAT!?" And stomped out. Leaving the proprietor with four pounds of doubleground filet mignon!

Of course, after I left The Little Club, we took an apartment on 55th Street between 5th and 6th avenues - just two blocks, or so, from the club. Too late; I wasn't working there any more.

to be continued...

The getting drunk problem was finally solved when the bartender, with whom I'd become friendly, asked me if I knew what a Horse's Neck was. I didn't, of course. He told me that it meant a glass of ginger ale.

That's what I ordered from then on when I was invited to have a drink at a table.

NEXT MONTH (Anniversary issue) Scotty York - Modernized Cap And Pence Phil Goldstein - Matswitch JÂť K. Hartman - In Staple Condition Blair Bowling - Sliding Knot, Plus Jon Racherbaumer - Another Royal Miracle Harry Lorayne - A Card Hop Max Londono - Change-Over

A vignette from during those days: Richard Himber and I were quite close. He was not easy to like; you had to work at it. I have a collection of his, shall we say, escapades.

Dick had a room at the Essex York City. He had a hot plate on cooked his dinners. His mainstay because that's all he ever served burgers .

plus,

House in New which he - and I know, me - was ham-

Spent some time in Europe with my good friends Albert & Freddy Charra and Alex & Yolande_ Scarella. Lovely people. Alex gave me some exquisite pieces of magic he makes himself...My impromptu linking card routine, out of QUANTUM LEAPS, is selling in Europe for $6-$9. Amazing!

If I inadvertently touch on something even remotely similar to an existing sleight, screams can be heard all over the globe...but not a sound when I'm openly ripped off. One idiot so-called reviewer wrote - "The new linking card routine Harry is claiming is good." That "is claiming" is idiotic, irresponsible, and a good example of yellow journalism.

APOCALYPSE is published every month by Harry Lorayne, at: 62 Jane St., New York, N. Y. 10014.

All checks are to be made payable to Harry Lorayne, and mailed to him at that address.

Individual issues - $3.00 each Subscription - $30.00 per year

Overseas subscription - $33-50 surface mail (U.S.A. dollars only) - $39.00 air mail - $40.50 airmail to Australia, Japan, So. Africa, etc.

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