Apocalypse vol 03

VOL. 3 NO. 1

THREE DOLLARS

ISSUE NO. 25

Scotty rarely contributes any of his magic to magazines these days. That's too bad. I'm pleased that he gave me this for Apocalypse - and for you. It is a BEAUTIFUL piece of magic. It is completely impromptu-looking, and can be performed under almost any circumstances - standing or siting - no surface is necessary.

When the effect is over (actually, BEFORE it's over) you're absolutely clean.

The effect is short, sweet, and terrific - but I have to use some space to explain how to make the gimmick, how to make a tube or cylinder with a dollar bill, and so on. Bear with me. You have to make a nickel gimmick, and you need a ballpoint pen with a strong magnet built into its bottom. Scotty uses a Flair pen; you may be able to obtain a "magnet" pen at your local magic shop.

Once you make the nickel gimmick you can use it forever. When completed, the gimmick looks like a three-nickel stack - but is one piece and hollow inside. There are a couple of ways you can go about making the gimmick. I'll explain it to you just as Scotty explained it to me.

Obtain the regular gimmick from a "nickels to pennies" trick. The newer ones are "nickels to dimes;" that one will take some extra work. Another choice would be to try to get the gimmick out of the ring that was sold with an outer ring and a nickel with tapered sides. This was to do "two nickels through hand" (out of three nickels that were covered by the ring). This gimmick was sold by Richard Himber at one time, I think.

If you have this ring gimmick, cut off one nickel.

If you have the nickels-to-pennies gimmick, cut off the top nickel. If you have the nickels-to-dimes gimmick, you'll have to machine out the inside diameter to make it wide enough to take pennies; then cut off the top nickel. Whichever you use, you end up with a ring large enough to fit over one Lifesaver candy; two nickels high (or deep), with no top or bottom.

COPYRIGHT 1980 by H. Lorayne, Inc.

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JAN.. 1980

Before going into the performance, you have to know how to form a dollar-bill tube.

Scotty folds the two long sides downward, anywhere from a quarter to half an inch. Slant the folds just a bit so that one end of the bill is slightly narrower than the other. (See Fig. k.) Now tuck the narrow end into the other end's "slots" (formed by the folded sides). (See Fig. 5.) Push in the end until it's solidly "tucked."

Now you need a nickel shell; if it's magnetic, remove the steel shim. Place the shell onto the two-nickel ring and wrap the outside with Scotch tape to keep it in stack condition.

Glue the shell in place from the inside. Scott suggests you use Epoxy cement or filler (not clear glue) which comes in two tubes and usually mixes gray. (He uses the brand name Deucon.)

(See Fig. 1. )

RING

EPOXY

6

Finally, glue a quarter-inch round STEEL (for good magnetic attraction) slug at the bottom, inside, center. (See Fig. 2.) The finished gimmick will cover a Lifesaver, the steel

I, personally, use a faster method. Simply fold the bill once, lengthwise. Then push one end into the other. (See Fig. 6.) Again, push the ends together until you have a solid tube. This is the fastest way I know to form a "bill" tube.

1W,\T~& EPOXY

To prepare: Have the magnetic pen in shirt or jacket breast pocket; you'll have to remove and replace it with your right hand, so place it accordingly. Place a Lifesaver candy inside the nickel gimmick and keep the gimmick in your right trouser or jacket pocket. Place a package of Life savers in the same pocket.

You're all set.

To perform: I'll sentation, patter, and is the sort of routine likely want to fit and ity. Here's the basic

leave most of the prehandling to you. This to which you'll most mold your own personalroutine:

Borrow a dollar bill. Scotty does an origami gag with it; he folds it into the tube and "flies" it by pinching and releasing the sides, etc. This is optional. You're standing face to face with your spectator. Place the tube over (onto) his right thumb as you ask for the loan of three nickels. Collect these in your left hand.

Reach into your pocket with your right hand and remove the package of Lifesavers; finger palm the gimmick at the same time. Hand the Lifesavers to your spectator, who still has the dollar-bill tube on his right thumb. Ask him to remove one candy.

slug goes through the hole; the candy will NOT wedge inside - it stays loose. (Fig. 3) is a bottom view of the finished gimmick. Remove the Scotch tape, of course.

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As you place the gimmick onto his hand, tell him to put the Lifesaver on top of the nickels. Let everyone see the situation - a Lifesaver on top of a stack of three nickels as you talk about trying to "push" the nickels through the hole in the Lifesaver.

Scotty doesn't do a "move" to switch the three nickels for the gimmick. Ask the spectator to hold out his hand, the one with the tube on the thumb - palm down. As he does this, your right hand approaches your left hand and squares the loose nickels into a stack. Simply leave these in your left hand, which turns palm down with the loose nickels held in its curled fingers. At the same time, your right hand comes out of your left hand holding the gimmick between thumb and middle finger tips. This is done CASUALLY as your attention is on HIS hand.

Take the "bill" tube off his thumb and cover the nickel-Lifesaver stack with it. Take out the gaffed pen, with your right hand, and poke it down into the tube - through the Lifesaver hole. Do the old gag about "pushing the nickels through the hole."

During the "groans" over this old chestnut, remove the pen. The "stack" of nickels with the Lifesaver on it comes out with the pen, hidden by your right second, third, and fourth fingers. (See Fig. 8.) The original, hidden, Lifesaver is left on his hand, of course - inside the bill tube. Place the pen back into your pocket, leaving the gimmick there, too. (Hold the spectator's hand high enough so that neither he nor anyone else can look down into the tube. )

Your left hand moves toward his hand and holds, and steadies, it. Your left hand still holds the borrowed nickels hidden in its naturally curled third and fourth fingers. As part of the same actions, your right hand places the gimmick - as the three nickels onto the back of his hand. (See Fig. 7.) Obviously, you can switch in the gimmick any way you like. Just don't louse it up by making it "movey."

The work is done, you're clean, and your audience is still waiting for you to do the "magic"! Build it up however you like, then insert the thumb of your obviously empty right hand into the tube and press down with that thumb. As you do, release the borrowed nickels from your left fingers, letting them fall to the table, bar, or bar stool. (See Fig. 9.)

The "miracle" penetration has occurred!

Lift the dollar-bill tube, exposing the Lifesaver still on the back of his hand, place the tube back onto his thumb, return the nickels, and eat the Lifesaver - the trick is over!

8

Afterthoughts: There isn't much more I can tell you about this. It really is a classic piece of magic. Make up a gimmick, and you're ready to perform it at any time and under any circumstances. Once you've done the work making the gimmick, there's little work involved in performing the effect. You can put all your effort and energy into the presentation. Don't pass this by!

All commercial and manufacturing rights reserved by Scotty York.

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Phil Goldstein

Matswitch circular motion, grabbing the stacked deck from beneath your leg. This sweeping action takes only a moment. It is completely covered (literally) by the raised mat, and at the same time you have the advantage of the misdirection provided by the tabled 8S, which pulls the spectators' eyes away from your hands. Your right hand tosses the mat aside, and picks up the tabled 8S, displaying it and then placing it back on top of the deck (thus completing the stack). The audience will not be aware that the deck was ever out of sight. Re-position the close-up mat back in front of you, and you are ready to go into your stacked-deck routine.

Although, and as Phil agrees, this is not an earth-shaking idea, it IS extremely practical - particularly for the performer who hasn't done any cold-decking before and is nervous about making use of a deck switch. Here it is in Phil's words: This seated cold-decking procedure was developed some four years ago. For those who shy away from deck-switching, take heart - this is an unusually "safe" approach, as will soon be evident.

This method was designed for the situation wherein the performer is working seated at the table, and where a close-up mat is being used.

Let us assume that it is desired to ring in a stacked deck at some point in the show. Prior to the performance, take the top card of your set-up deck, and place it onto the table, beneath the close-up pad. The rest of the stacked deck is tucked, face down, in between your left thigh and the chair you're sitting in.

About half the deck's length should extend beyond the left side of your leg. With the deck in this position, you will find it easy to do a lot of movement with the upper body, without having to be too careful trying to avoid losing the deck. Even though the deck is securely held, you will find it quick and easy to grab it when you need it.

Of course, if you want to use this switch, say, for a change of back design effect, simply ring in the second deck face up.

Assume the card beneath the mat is the 8S. When you are ready to switch in the stacked deck, you do so via the following simple card trick: Force the 8S from the deck which is in play. Allow a spectator to shuffle the deck.

When the deck is returned to you, turn it face up to show that the selection is not on its face. (Of course, if the 8S IS, by chance, now on the face of the deck, take credit for it... and have the deck re-shuffled.) Place the deck face down on the center of the mat. Explain that you'll magically knock the selected card down to the bottom of the deck. Hit the deck with your fist. Pick it up with your left hand, as if expecting to see the 8S at the face.

Needless to say, it won't be.

Afterthoughts: This IS a completely "shaded" deck switch, and should come in handy for many. You might want to do a bit of experimenting as to just where to position the stacked deck, although your left thigh is as good a position as any - as Phil suggests.

Express confusion for a moment, and then exclaim, "Oh! I must've hit the deck too hard!'

Your right hand lifts up the close-up mat from the center of the edge nearest the audience, raising it up to a vertical position, and thus revealing the 8S which has apparently been sent right through the surface of the pad. (Fig. 1.)

The trick is over - BUT, the raised mat acts as a large screen for the actions of the deck switch which take place at this moment.

And, if you had a special pocket sewn into the lining of your jacket's right side, and if you kept your jacket unbuttoned - as you lean forward to look at the tabled 8S, the front of your jacket would move forward also. It would be an easy matter for your left hand to deposit the deck into the secret pocket, then continue moving to grasp the stacked deck. That way, you're "clean" after the switch.

Your left hand lowers into the lap, dropping the deck it holds, and continues in a

PUBLISHED, WRITTEN, EDITED:

Harry Lorayne

ILLUSTRATIONS: Greg Webb •292

In Staple Condition

J. K Hartman

Twist both sections to an upright position - both sections facing you, and clasp the upper section against the lower with your left thumb which covers the staple. (See Fig. 2.)

Without pause, lower the deck to a horizontal position to expose the card which the spectator has apparently selected. Have the spectator write his initials on the card with the pencil.

Jerry evolved the following routine from variations appearing in Apocalypse, Vol. 1, No. 7 (pages ?8-8l) by Paul Harris and Looy Simonoff, Richard Kaufman, and Ken Krenzel of Joseph Prieto's "The Stapled Card" (SCARNE ON CARD TRICKS, page 110), particularly from the Krenzel suggestion of using a business card.

This method is quite different and also easier; the objectives are a) to allow the spectator to insert the single stapled business card anywhere in the deck and b _) to show both sides of the business card immediately before it appears stapled to the selection. In Jerry's words: By way of preparation, trim the edges of two business cards so that they are shorter from end to end than the length of a playing card. This precaution prevents flashing during the routine. Using a standard office stapler, insert one business card and press a staple in place in the approximate center of the card, the closed bar of the staple on the printed side of the card aligned in parallel position to the printed letters.

The other business card, printed side up, is centered on the back of a playing card of low value (to provide writing space later), and stapled in place, the staple in identical position as on the unattached business card. The printed letters themselves can be used as a guide in the placement of the staples. (See Fig. 1.)

Tilting the deck to an upright position, grasp the upper section at the outer (or upper) end - thumb on the face, fingers on the back and turn it face down onto the lower as both sections are returned to horizontal position.

Maintain a left little fingertip break between sections as the deck is re-assembled.

Double cut to the break to control the double card to the bottom and obtain a break above it with your right thumbtip. As you do so, comment that you would like the spectator to assist you by saying stop one more time. "...this time," you continue, "as I deal cards off the deck like this."

7X

So saying, pull three cards one at a time off the top of the deck with your left thumb.

Pause for a moment, then return the three cards beneath the deck, your right thumb maintaining its break. The sequence, which serves as a demonstrative action, has shifted three cards beneath the double card with a break above the entire packet.

2

Have a pencil handy. If you are using the deck for other tricks, secretly add the stapled double card to the deck, cutting it to the center. You should be aware of the direction of the lettering on the business card. Assume it is readable from the right side. Introduce the single business card and have it examined, making a comment about the staple affixed to it.

Take it back and set it on the table, lettering upward and also readable from the right.

Once again begin pulling cards one at a time off the top of the deck with your left thumb and repeat your instructions by asking the spectator to say "stop" at any point. You want at least five or six cards in your left hand before he does so.

When he tells you to stop, ask him to pick up the business card from the table and place it on top of the cards in your left hand. Since he has no reason to do otherwise, he will deposit it without turning it around - i.e., with the writing still readable from the right side.

With the deck in your left hand, arch your right hand above it and with your right thumb feel for the virtually automatic break which forms below the double card. Maintaining the break with your left little fingertip, perform a Riffle Force, lifting the section above the break with your right hand from above as a spectator calls "stop."

Your patter and accompanyitig actions now proceed as follows, all in rapid succession.

Say, "As you've seen, this business card has

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The business card continues to show as it should - printed side up and readable from the right. The spectator will reply that there is nothing on the other side. When he does so, extend your left hand, saying, "Take a look at it." He picks it off and finds that what is "on the other side" is his initialed selection firmly stapled in place!

my name on one side..." Then push it to the right and lever it over with the left side of the deck proper as you continue, "...and nothing on the other." Lever the business card over again as you say, "...printing on the front..." (See Fig. 3.) Lever it over once

Afterthoughts: Ken Krenzel's version, in Vol. 1 No. 7, is based on doing the Classic Pass after the spectator places the loose business card onto the top of the deck. It's quite direct and effective. Jerry's version, however, eliminates the pass - which has to be done at a point where the spectators may be looking directly at the deck. It also makes the spectator believe that he's seen both sides of the business card immediately prior to the ending.

This is unique, and good, magic - the kind of thing laymen remember and talk about. (HL) more, saying, "...and blank on the back." Flip it over a final time, but on this occasion simultaneously release the packet below the thumbtip break on top of it in Drop Switch fashion as you conclude, "So if my name is on THIS side, what's on the other?"

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

Sliding Knot Plus

Blair Bowling

John Cornelius' Sliding Knot (January, 1979) created quite a stir. Blair was inspired

by Doug Henning's stage version and by John's close-up version. He came up with this standup (close-up) routine using prepared rope.

What he's added is the sliding of the knot to different positions and UNTYING the knot at those positions! His presentation is that he needs two equal lengths of rope. You can supply your own presentation, of course. Blair usually starts with a short and long piece of rope, although you can start with one long piece, as you'll see. The impression left is that no matter where the knot is moved on the rope it can be untied to show two lengths of rope of varying lengths.

A

Preparation: The rope is gimmicked with magnets in which the "A" magnet attracts the "B" magnets. (Fig. 1 illustrates how the two ropes are prepared and set for the commencement of the routine, and the lengths that Blair uses. ) Performance: After displaying what appears to be a single length of rope, hold the rope with both hands near the "B2" end (Fig. 2) and ask the spectator to cut the rope between your hands. This produces a short piece about 6|- inches long. Hold the non-magnetic end of this short piece in your right hand and the new end of the long piece in your left hand, displaying two lengths of rope. (See Fig. 3-)

Bz

Bi

V777\ V77A

15"-

28"-

Y//A

This would be your starting position if you didn't let a spectator cut. It's just as effective to start this way - otherwise you'd have to prepare after each performance.

Ordinarily, I like to keep each routine in Apocalypse complete unto itself. In this case, however, I must assume that if you're interested in this you are familiar with the Cornelius version in the January, 1979 issue.

The two methods of tying and untying the knots are described in detail in that issue. At the appropriate points, I'll refer you to the exact pages of that issue.

The two pieces are tied together using the John Cornelius method of switching ends. This leaves the short piece knotted around the long piece, approximately four inches from the end.

Check my description on page 1^9 of the Jan., 1979 issue of Apocalypse. The long piece is

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each hand. They are then tied together - again using John's method of switching ends. The ends of the long pieces leap back together again in the palm of your right hand. (The knot cannot be excessively tight, as you'll see in a moment.) Your right hand slides to the right end of the rope as your left hand releases its portion.

pulled fractionally through the knot as you make the knot, leaving it about four inches from the end. This maneuver goes unnoticed by the spectators, of course.

After displaying the rope with the knot at center, your left hand slides the knot down to about four inches from the lower end. The friction of the sliding knot must not be greater than the magnetic attraction at the center of the rope, otherwise the ropes will be pulled apart. The illusion is that the knot has been slid from one end of the rope to the other but, really, it never passes center which could cause the magnetic ends to separate.

The rope is now displayed by holding it in your left hand near the end of the apparent short piece. Grasp the magnetic end of the knot between the thumb and forefinger of your right hand and slide the knot down the rope until the magnetic joint of the long rope is covered by your right hand. (See Fig. 4.) The knot is now untied using my own method of switching ends. Check my description on page 151 of the Jan., 1979 issue of Apocalypse.

(In Blair's words - "This is really beautiful with magnets, Harry, because as the original end is detached, the short piece just jumps onto the end of the longer magnetized rope end.

I have to thank you for this technique, as it put the finishing touches on this routine."

My pleasure, Blair!)

The knot is untied, leaving a short and a long, rope just as at'the start.

Afterthoughts: The lengths of the pieces of rope is optional, of course. A bit of experimenting will show you the best lengths for you. The knotting and unknotting must be done cleanly and naturally. Once you can do that, this is a beautiful piece of magic.

Commercial and mfg. rights reserved by Blair Bowling.

The two about-equal pieces of rope are now displayed - one between thumb and forefinger of

NEXT MONTH The post office advised me that single copies of Apocalypse mailed outside the USA would cost more because of size• I'd have to fold it in half in order to save the surcharge.

Either that, or charge more for those out-ofUSA subscriptions. I mailed a few that way.

But, then I was told that this did not apply.

No one seems too sure! I'll mail them as before until I have to fold them. Wanted you to know why they're folded - iJf that's necessary.

Don't think so at the moment.

Sol Stone's Soft Sleeve John Murray's Trip From Center David Garrard's Shell-Shocked Anonymous - Flip-Over Change John Cornelius' Flicker George Eisler's Four Coin Production William Miesel's All-Fair Moving Collectors Geoff Latta's Copper-Silver Transpo plus... •295

Jon Racherbaumer

Another Royal Miracle as, at the same time, your left thumb slides off the AC. The AC covers the face-down card but, maintain a left little finger break beneath the AC. The 5~card block remaining in your right hand (face-up AD on top) is placed onto the AC as one card. This all appears, or should, as if you've simply displayed the aces one at a time.

This is actually Jon's variation and extension of Larry West's Acrobatic Card Extension in Issue #15 (March, 1979). It's good; in Jon's words - "It blows laymen away."

Either remove the four aces, or leave them face down on the table after a four-ace routine.

They're in D, C, H, S order from top down. Cull the four high diamonds to the top as you find the aces or during the four-ace routine. From the top of the deck down - JD, QD, KD, 10D. The 10D must be FACE UP.

Lift all the cards above the break with your right hand. What you're holding at this moment is a 6-card packet - from top down: Face-up AD, face-down 10D, and the face-up KD, QD, JD, and AC. The AH and AS are face up beneath the top card of the deck proper. Place the deck onto the table. Flip the packet face down into your left hand - dealing position.

Openly transfer the bottom card (AD) to the top. Your left forefinger curled around the outer end of the packet effectively "shades" its extra thickness.

Shuffle, keeping the top four cards intact.

Then, force the 10D via the Christ Force, like this: Riffle down on the deck's outer left corner with your left thumbtip until you're stopped. Lift all cards above the "stop" point and flip them over (face up) onto the remaining cards. Hand to hand spread until you come to the first face-down card (10D). Careful here; don't spread past the face-down 10D or you'll expose the face-up cards beneath the 10-spot.

Turn the top card (AD) face up and place it outjogged to the bottom. (If you prefer, you can eliminate moving the AD from bottom to top. Simply take it from the bottom, turn it face up, and replace it outjogged.) Flip over the (now) top card (AC) and leave it injogged on top. (The jogs are about half the cards' length.) You can show the two center face-down aces(?) by pulling back the top face-down card (carefully). (See Fig. 2.) Square the packet.

Raise your left hand, and its cards, so that the backs are toward you - and push over the top card with your left thumb. The spectator sees the 10D, and the reversed cards beneath it are hidden from view. (See Fig. 1 for your view.) Ask your spectator to remember the card; pull it back (flush) with your left thumb - then lower your hand. Replace the righthand cards face down onto the left-hand portion, but obtain a momentary break between the portions. Double cut to the break, bringing the four-card set-up back to the top.

Flip over the cards (face down) and do an Elmsley Count, showing four face-down cards.

The last card goes on top. In effect, you've caused two aces to magically reverse themselves.

Repeat exactly. That is, turn the top card face up and outjogged to the bottom, and the next card face up and injogged on top. Do NOT spread to show the two center face-down cards this time. Your spectators see two face-up aces.

As you talk about, and direct attention to, the tabled aces get a left little finger break beneath the top FOUR cards of the deck.

The natural break makes this easy. Pick up the aces with your right hand and flip them face up onto the deck. Your right hand, from above, lifts all cards (8) above the break.

Now do Mario's Atfus sequence.

The Atfus was described in Decking-Hofzinser Deluxe, Issue #3, Vol. I (March, 1978).

So - the following is a quick description.

Steal one more card from the top of the deck to beneath the 8-card packet, maintaining a separation between it and the packet with your right thumbtip. With your left thumb, slide the top face-up ace (AS) onto the deck; slide off the next ace (AH) the same way. As you approach to slide off the third ace (AC), the broken card goes flush onto the first two face-up aces

Square and flip the packet face down. Do NOT Elmsley Count. Simply spread the cards face down, holding the last three as one. Four face-down cards are seen. (This will confuse other magicians.) Let this sink in as you move the lowermost block of three cards (as one) to between the first and second cards (from top) of the remaining 3-card fan. Square the cards.

You've done two magical reverses and "locked in" the fact(?) that you're handling four aces.

296.

the double card is flush with the deck move the single face-up 10D slightly to the right. You are still holding exactly four face-down cards, and - your spectators KNOW these are the four aces!

Ask your spectator to name his card. Saythat you'll cause that card to magically appear between the four aces. Do either an Ascanio Spread (Fig. 3) or a double-buckle spread to show four face-down cards (supposedly the aces).

Square - and then cleanly spread FIVE cards (the lower two are held as one) to display the face-up 10D between the four face-down aces(?).

Spread these four cards with your left thumb in a one-hand fanning action. Then deal them in a face-up row one at a time, to the right of the tabled deck, showing the four high diamonds. After you deal the JD and QD, flip the remaining two cards face up, and deal the KD then the AD - this keeps the royal flush in correct sequence - and end! (See Fig. k.)

Afterthoughts: Try this a few times; I think you'll want to use it often. Fill in your own patter, or check some of the patter in Acrobatic Card Extension in Issue #15-

With your right hand move the top two (face-down) cards to the bottom - bringing the face-up 10D to the top. Re-spread and, as you square, get a left little finger break beneath the top TWO cards. Your right hand lifts these two as one - the face-up 10D - and places the double card onto the tabled deck. As soon as

Max Londono

There are two face-up aces still near the top of the deck. I'll leave it to you as to how to straighten them out - or use them in a following effect.

Change-Over in view. Your right third and fourth fingers bend in, their tips contacting the palmed bill, and ROLL it out to the left. (See Fig. 1.)

Done correctly, this is as clean a switch of a crumpled piece of paper, while your spectators are looking right at you, as I've seen.

Max teaches to remember "stomach, chest, mouth, stomach" while learning it. You'll see the point of that in a moment.

Let's assume that you want to magically change a piece of paper to a dollar bill. Prepare by crumpling a dollar bill into a ball classic palm it in your right hand. Max sometimes places the bill in the folds of his left sleeve, at the inside of the elbow. That way, he can show his hands empty at the start. He steals the bill as he pull's up his sleeve.

Okay; pick up a piece of paper, display it, and start to crumple it into a ball with the fingers of both hands. This is started at STOMACH level - hands held forward and away from you.

AS you do this, your left fingers PLACE the paper ball into right-hand classic-palm position. (See Fig. 2.) Without pausing, you." left fingers, as they return to position, move the (originally hidden - B, in figures) bill to your right fingertips. (See Fig. 3.)

As you crumple, start moving your hands upward. The paper should be in "ball" shape as you reach chest level. In appearance, you're moving it up to your mouth - to blow on it. The change is done as your hands move upward - at CHEST level.

What you have to do is to put all these actions togetheri they blend into one fluid action. The bill is kept out of sight, behind your right fingertips (as in figure 3) for a fraction of a second. During that fraction of a second, your hands are up near your MOUTH.

Here's what happens at chest level: The ball of paper is held between thumbs and first and second fingers of both hands. It's still

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SMOOTHLY, as your hands move smoothly upward.

Max does a slight up and down movement of hands and paper as he starts to crumple it - at the very beginning. Time it so that the paper is crumpled when you reach chest level.

Blow on the bill and, as your hands move down to STOMACH level (this time, closer to you than they were at the start), start to open the bill - to show the change.

Afterthoughts: The change is clean and magical when done properly. You see the thinking behind Max's "stomach, chest, mouth, (back to) stomach" idea now. The change is, or should be, done at chest level - it is done

Hairy Lorayne

Of course, this change can be used as explained, or to change a bill of one denomination to a bill of another denomination - or, a bill to a piece of paper, and so on.

A Card Hop

This is an instant and invisible way to bring one card from bottom to top. It is accomplished during a swivel cut to the table.

If you can do the swivel cut, and I'll assume you can, just a bit of practice is all that's necessary to get this working smoothly and beautifully.

This moves the inner (right) end of the bottom card downward, away from the deck. When your right hand grasps the deck, your right thumbtip automatically maintains a break between the bottom card and the deck. (See Fig. 1.)

Now, do the swivel cut to the table. (See Fig. 2) to see it starting. When that "swivel-

The face-down deck is in dealing position in your left hand. Your right hand is approaching to lift the deck from above. But, as it does, do a bottom card buckle with your left fingers.

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Afterthoughts: It's a utilitarian type of thing; use it wherever it fits. If you do it with the deck face up, it appears almost like a color change - and as if you're cutting the selected card to the face of the deck. All you have to do is control the selection to the top, turn the deck face up, and do the Card Hop. And, obviously, if you break two or more cards first, you can "hop" those to the top during the swivel cut.

ed" portion lands on your left palm, your right hand is moving its portion to the table. Even if you weren't going to do the Card Hop, the right-hand portion, almost automatically and naturally, moves almost directly over the (now) left-hand portion. (See Fig. 3-)

When I showed this to Vincent Sabatino, he made a good suggestion. He said, "Why not use it for the end of a color-changing deck routine?"

What a good application for the move! I won't suggest a routine here, but assume you have three or four blue-backed cards on top of a red-backed deck. You've been performing a routine where the spectators think you're using a blue-backed deck, and you're ready to end to show that the entire deck has changed to red.

Casually spread a few top cards, showing blue backs. Square them. Say, "Watch!" and do my Card Hop. The visible blue back on top of the left-hand portion changes INSTANTLY - during the cut. As soon as the cut is completed, as your right hand deposits the second portion onto the already-tabled portion, and without pausing - ribbon spread the deck to the right.

Just don't spread the top few cards. The few blue backs are hidden beneath the top red-backed card.

As it does, WITHOUT PAUSING, simply relax your right thumbtip allowing the "broken" card to drop onto the left-hand portion. That's all. Complete the cut. That is, your right hand deposits its portion on the table, then returns to take the left-hand portion and deposits that onto the already-tabled portion.

The bottom card is now on top.

What you have to practice is SMOOTHNESS. There must be ABSOLUTELY no pause or hesitation when the broken card is dropped. To all appearances, you're doing the swivel cut as you always do. It should look no different.

Jackie Flosso

Try this; it's so pretty you may want to work out a color-changing deck routine just to build up to it.

Three-Card Monte Expose

I'm up at Flosso's Magic Shop - it's been cleaned up, everything put in its right place, at least in the front; the counter has been moved from one wall to another - you won't recognize it.

cards. sure? does ed, as card.

Jackie Flosso and I are rapping about various old friends when a magician walks in with a layman friend. "Do something for my friend, will ya', Jackie?" Jackie hesitates, he's busy trying to sell ME something! "Gee, I don't know; what can I show him?"

The layman points to the same card. Hesitantly, Jackie says, "You're sure? All right, turn it over." The layman does. It's not the 2H. "Here, I'll make it easier. There are only two cards now. Take another guess." He switches around the two remaining, face-down, cards. The layman indicates a card; he's wrong again.

"We just saw a three-card monte guy on 3'J-th Street. Can you do that for him?" asks the magician.

Jackie hesitates; he says, "Are you Wait, I'll mix them some more." He slowly.

He's acting slightly perturbif the layman indicated the correct "Go ahead, point to the two of hearts."

"Turn over the last card," says Jackie.

That's not the 2H either. Jackie ribbon spreads the face-down deck - the 2H is face up at center. "The two of hearts is here, not there.

That's how it's done!"

"Oh," says Jackie, as he picks up a deck of cards, "don't you know how that's done?"

The layman shakes his head, "no."

The layman's eyes are much wider than they were a minute ago.

"Well, look" says Jackie, "keep your eye on this card." He shows the top card of the deck - the 2H. He places that, and two other cards, face down, in a row, onto the counter.

He switches them around a bit. "Where's the two of hearts?" he asks; "Go ahead, point to the two of hearts."

Afterthoughts: That's exactly how Jackie performed it. The layman was flabbergasted (his magician friend seemed a bit confused, too). Do I have to tell you how it's done? A quadruple lift, of course. How else? Had I told you that earlier, you may have stopped

The layman points to one of the three

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reading!

to get into the routine.

Do a quadruple lift, showing the card.

Replace the lift and deal the single top card to the table. The next card to its left and the third card to its right. The noted card is now on top. There's more than enough time to reverse that top card to center during the rest of the routine, using any reversal you know. Take your time, reverse it casually but quickly, and at the right time, when all attention is on the tabled cards.

The only suggestion I'd make is to have the four aces on top; the AS is fourth from top.

Casually shuffle, keeping the aces on top, as you talk. That's all; the AS is the noted card. During the routine, when the spectator turns up the wrong card, say, "You're close; it's an ace, but the wrong one." And so on.

The ending is the same, but you've got the added punch of having the four aces on the table - from a shuffled deck.

Jackie presents it exactly as I explained.

It really appears as if he's goofed, and that the spectator pointed to the correct card.

Then - and I don't know how many times I have written this line - go into your favorite four-ace routine, if you like!

What a simple thing, and what a reaction it gets from laymen. I don't know about the rest of the country, but there are, unfortunately, many unsavory-looking three-card monte men on many New York City streets. It's easy

This basic routine appeared in only a paragraph or two, in the Phoenix, back in the early fifties. I felt it should be explained again, since I doubt if many remember it.

Editorial This is the first issue of the third year (Volume III) of Apocalypse. In no way could I have foreseen either the success of the magazine or the length of time I would continue its publication. I'm a bit stunned by both areas.

I had intended to continue publishing Apocalypse for only as long as I could keep up the high quality and standard of magic with which it started. Well, after all the years I'd been involved with magic I thought I knew it all - particularly in the area of close-up card magic.

How wrong I was! I'm delighted with the quality, the new ideas, contained in many of the contributions. That's part of the fun - I get to see these things first! In any case, it looks as if I can keep up the quality and standard of magic in Apocalypse indefinitely - I have enough terrific material for years right now - and I will continue to stockpile good material.

So if you've got it - flaunt it (to quote my good friend, Mel Brooks) - send it in!

This, incidentally, does not mean that your contribution will necessarily have to wait years before it sees the light of day in Apocalypse. It may be some time, but it also may be sooner than you think. Occasionally I need an effect, or item, of a certain category and/or of a certain length, etc; for a fairly current issue - and in it goes. Anyway, I do try to take into consideration the length of time I've been sitting on an effect or routine - so, the sooner I get it the sooner it will appear, usually.

And, to repeat what I've editorialized before - I couldn't care less whether you feel you're "known" or "unknown." I'm interested only in the quality, the freshness, of the material. If you think you're an "unknown," perhaps the fact that some of your stuff appears in Apocalypse will change that to "known."

Well then, welcome to another terrific year of Apocalypse. If you just happened to pick up this issue - isn't it time you subscribed? And, have you talked a friend or two into subscribing? Don't leave it to the "other guy" to help support a good magazine!

Yes, I believe the magazine is good to terrific. I can for Apocalypse is a simple one - I want it to be the kind of want to receive every month - couldn't wait to get it - if I that criterion is reached, and as long as it continues to be to be published.

only assure you that my criterion magazine that I, personally, would weren't publishing it! As long as fun - Apocalypse will continue HL

HAPPY 1980!

w i i x r a t v a s - p u D i i s n e a e v e r y m o n t h ^•'••n^Txj''''''I^ra^&T'''''^tT''''"''6Z''-7sitie S t . , N e w T & r K , N . Y . 1 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,

300

Lotayne's THREE OOLLARS

VOL. 3 NO. 2

FEB.. 1980

pocalypse •'- COPYRIGHT 1980 by H. Lorayne, Inc.

ISSUE NO. 26

^SLEEVE

What a pretty, magical, routine this is. Its "basic sleight is the sleeving, of a coin into the right sleeve; the standard "snapping" sleeve move - except that Sol does it with a soft "rubbing" motion. It's an easy move to learn. The timing of the routine, however, requires a bit of practice.

Sol performed this for me first as a single coin change, then as a short routine during which the coin changes, then changes back again. I like the short routine better.

A nickel is finger palmed in your left hand. Actually, it's held in place by only your slightly curled left third finger - at its base. You're openly holding a penny at your right fingertips. You're standing, facing your spectator. If you prefer to start clean, you can have the nickel in your left sleeve to start - I don't think that's necessary. You might also borrow the penny.

Ask your spectator to hold out one hand, palm up. Place the penny onto his palm. If you have started with the nickel in your left sleeve, it's at this moment that your left arm would move down to natural position securing the coin in finger-palm position. Or, you can wait until you go into the next step, since you'll be using only your right hand during that step.

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fall naturally to your side. The penny is retrieved, and held in finger palm, just as the nickel was held in your left hand.

Your right thumb and forefinger tips turn over the penny on his palm once or twice. Then, pick up the penny between thumb and forefinger tips. It is held toward its left edge. (See Fig. 1.) Pretend to place the coin into your left hand, which is held up near chest level.

(See Fig. 2) for your view.

This next change is done with your right hand only. With your right thumb and forefinger tips, turn the nickel (on his palm) once or twice. Then take it out of his hand, just as you removed the penny before.

As you move your right hand up, out, and away - keeping its back up - do the "soft sleeve" move. Immediately (at almost the same time) close your hand, turning your fist fingers up (back down). It appears as if you simply took the coin and closed your hand around it. And, incidentally, if the penny is finger palmed at the base of only your right third finger, as explained, it won't be in the way of the sleeving move at all.

Open your right hand to display the penny.

Slide it off your palm onto his - to end.

(See Fig. 4.)

Don't release the penny. As your right hand moves up, out, and away from your left hand, your right forefinger gently "rubs" the coin backward against, or along, the inner side of your thumb - propelling the penny into your right sleeve. This is the key move. It is NOT a "snaps" it's a SOFT rubbing motion. You'll have to try it once or twice to see how soft and EFFORTLESS it can be. Remember; your hand is up at that moment, so the coin moves diagonally down into the sleeve - not horizontally.

Also, your hand is back up as the move is executed. (Fig. 3 is how it might look if you were looking into a mirror.)

There's a rhythm here that also must be practiced. Your right thumb and forefinger tips go into your left hand (the pretended placement) then right out again. As your right hand comes away, the "soft sleeving" move is done. The momentum (soft) of the outward faway) movement aids in performing the sleight.

Almost at the same time that the penny is sleeved with your right hand, your left hand turns palm up to display the nickel. Let it slide from your left palm onto your open right palm, and from there onto the spectator's palm.

This sequence is put together this way because it clearly shows both hands empty without the necessity of mentioning that fact.

Afterthoughts: Your right hand should be back up at the moment of the sleeving, each time. That's so your sleeve is in proper position to receive the coin. If your hand is held sideways, you'll probably miss the sleeve.

That's the first change; it's a beauty.

You could, of course, end here. Sol and I prefer to continue.

Please try the move as explained - one gentle rubbing motion rather than a snap. This is what makes it good - there's no "snapping" or jerky motion of the hand or fingers. It's all a natural-looking hand action.

As you pause for a beat or two with the nickel on his palm, making an appropriate remark, let your arms (or just your right arm)

Fill in your own explanatory patter. properly - this looks like "real" magic.

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Done

John Murray

Trip From Center

I like being fooled, so I enjoyed seeing this. It's an ambitious-card move, which brings the card from center to second from top.

But, it's also a utility-type thing that can be used during other routines. I'll teach it first as the ambitious-card move.

Keep dribbling until you have only ONE card left. (See Fig. 3.) Again, there's no pause. The hidden card is placed on top UNDER (and undercover of) that visible last (top) card. That's the move. And, the back of your right hand "shades" it completely.

At one point during the routine, when the ambitious card is really on top, show it then really place it to center, leaving it outjogged a bit. Spread to it, raise your left hand to show that that card is really at center. Replace and square, obtaining a momentary break beneath the card.

When you first try this, it's possible that the left long side of the hidden card will still be among the rest of the cards. In other words, the dribbled cards didn't "clear" the hidden card completely. In that case, bending in your left fingers just when you're ready to end takes care of it. (See Fig. 4.)

In a side-steal action, your left fingers push that card out until its outer right corner butts into the fork of your right third and fourth fingers. Your right fingers grasp the deck a bit more to the right than ordinarily.

Since nothing can be seen from above, (Fig. 1) is a worm's eye view.

You can avoid that problem entirely if your right hand tilts ever so slightly down and away just as you come to the end - that releases the left long side of the hidden card.

If it continues to hang up that way, move your right fingers more to the right ends of the deck as you side steal and as you dribble that'll solve the problem.

There's no pause in performance. As you say, "We'll leave it near center," punctuate the remark with a "low" dribble of all the cards from right down to left hand. It's during this dribble that the work is done. As cards are released from right (first finger and thumb) to left hand, they'll "ride" over the left long side of the vital card. That card continues to be held at only its outer right area. (See Fig. 2) which is a stop-action view after about three quarters of the deck has The angle is head on; it's completely covered. The entire thing takes a second and is a casual dribbling action simply punctuating your remark. When I say a "low" dribble, I mean that the cards shouldn't fall more than two or three inches. After some use, you'll make it even "lower." And, also after you become familiar with it, you'll see that it isn't really a straight dropping of cards - your right hand does a slight up and down movement as it dribbles cards.

Johnny feels that wearing a ring on your right third or fourth finger aids in holding and covering the vital card's outer right corner; I don't find it necessary - it doesn't seem to make much difference; it may have to do with the shape of your hand. dribbled down. In this, and the next two illustrations, the right-hand card(s) have been diagonally raised for clarity purposes. In action, those cards would be parallel to the lower, or left-hand, cards.

Okay; that's the basic move. From there, of course, you'd do a double lift to show the card back on top - then continue your ambitious card routine.

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slightly raising the top card with the inner part of my right thumb and holding a break after the side-steal action to position and just before the dribble. This makes the holding back of that single top card much surer and cleaner for me.

You can bring a FACE-UP card from center to second from top the same way. Just be a little more careful as you square after the dribble.

Instead of bringing the card to second from top, you can bring it to ANY position if you hold a left little finger break under the number of cards you want. (If you want the card to end up 6th from top, break 5 cards.)

When you're ready to do the side-steal action, the break is transferred to your right thumbtip. Then do the move, dribbling up to the break - that's all.

Work on the basic sleight; believe me, it's worth it. (It does owe something to Ed Mario.

Check Side Steal, in REVOLUTIONARY CARD TECHNIQUE. ) You might want to try pushing out the vital card AS you square the right-hand spread onto the left-hand half. One final word of advice - when you dribble be sure that your left hand is parallel to the floor. Otherwise, you'll be too busy trying to catch cards that slide out of your left hand to concentrate on the sleight!

Finally, the move can be used to bring the center card face down at the rear of the faceup deck. Do the dribbling, but for this, dribble ALL the cards. The moment the last card falls, your left thumb helps to turn the deck over, to the right, ONTO the hidden, stillclipped, card. (See Fig. 5.)

I've also used the following as a quick, interesting, effect. Get the ace to five of (say) clubs to the top of the deck; in order, ace on top. Then move the 2C from second from top to the top. Shuffle, keeping the top five cards in place. Then, either hand the top card - the 2C - to your spectator, or force it.

Again, the action is completely covered, and it takes an instant. The vital card is face down at the rear of the face-up deck. Take it from there.

Let him look at it - you do, too - then take it and say you'll put it into the deck wherever he likes. Run it down at the upper left corners of the cards - or thumb riffle until he stops you. Insert the 2C there; it should be near center. Tell him that he may change his mind and move it up or down, etc.

Push it flush, getting a break beneath it.

As you say, "We'll leave it right where you wanted it," do the "dribble" move, bringing it to second from top. Cut (complete) a few times - then spread the deck face up to show that he placed the 2C into position among the other four club cards! Your end line might be - "Do you always draw to an inside straight like that?!"

Afterthoughts: It IS a good utility move.

I like it best for simply bringing the card from center to second from top, and I use it as a control.

A bit more sophisticated: The AC is at bottom; from top down, have the 3. 2, 4, 5C. Force the top card (3C), and do exactly as explained. The 3C appears to have been placed into correct position.

As I kept using the move I found myself

Apocalypse Variations Or Additions At the end of my description of Allan Slaight's The Unkindest Cut Of All (April, '79) I threw out a small challenge. Allan's routine starts with the dealing out of two ?-card Rummy hands. I wondered if anyone could come up with a set-up that would enable the performer to deal two 10-card Gin Rummy hands - since Gin is a more popular game.

Melvin Anderson of Portland, Oregon met the challenge. Refer to the April issue, of course, so that you're aware of the basic routine. Mel's full-deck set-up is as follows: kC, 10S, 9H, 8S, KH, IOC, QS, 10D, 8D, 7S, QC, 6S, QH, 2H, 7D, 3H, 6H, 5S, 2S, AH, 3D, 10H, 9S, 2D, 8C, AD, 7C, JC, 4S, 6D, KD, 5H, JH, AS, 7H, QD, 3C, JS, 5C, KS, 9D, 2C, 8H, 3S, KC, kD, 6C, JD, 9C, 4H, AC, 5D. The 4C is the top card; 5D is the bottom card.

Begin exactly as in the original, except that you deal two 10-card Gin hands. Turn up the next card (3D)> place it face up onto the table and place the deck next to it. Turn up the spectator's hand, and point out that it contains only one "lay" - three queens. Turn up your hand, and display a "Gin" hand: three 10's, AH, 2H, 3H, and a four-card run - 5S to 8S. Place your face-up hand onto his face-up hand, all these onto the face-up JD, and all 21 cards face down to the bottom of the deck proper. And, one change in handling - the top two cards (10H, 9S) are double cut to the bottom. And, the deck is set for the stud poker deal. Deal the hands as described in the original.

The full hands are displayed by turning each face-down (hole) card face up onto the other four. You'll be displaying a straight, pair of kings, flush, and a one-card-needed straight. The patter is that all players would probably stay in. You win with four jacks.

Pick up as in the original, place to bottom of deck proper, and you're set for the excellent head-to-head Black Jack deal and demonstration.

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David Garrard

Shell-Shocked! Š The load: The hand that has the coin under it moves back to the center of the pad, moving the coin along with it. It then immediately moves to reach for an empty shell. As your hand moves the empty shell to a different position on the pad, your palm raises slightly allowing the coin to remain stationary on the pad. At the same time, your hand tips the shell just enough to allow it to move over the coin. (Fig. 2.) The continued movement loads the coin under the shell which can then be moved to any area of the pad. Basically, the load is the reverse action of the steal.

Both the steal and the load are easy to do and will become almost automatic - and natural - after a bit of practice.

Good thinking here. I can visualize the routine's entertainment and magical value.

Requisites and preparation: Obtain four of the L'Egg shells that are containers for pantyhose. You will need three silver ones and one white one. Colors, of course, are optional as long as there are three of one color and one of another.

Use only the larger half of each "egg" and glue two thicknesses of white felt (again, color is optional) around the inside "bottom edge of each. This is to deaden the sound of coins contacting that inside edge or perimeter. Attach a Glu-Tab (a wax-like adhesive used for hanging posters, etc.) - or double-sided transparent tape - to the bottom INSIDE of the white shell and two of the silver shells. The adhesive needs to be only strong enough to hold a 2-inch sponge ball in place - at the inside bottom of these three shells. (The "bottoms," of course, are the tops during performance because the shells are mouth down.)

You'll also need three 2-inch sponge balls. These are attached to the adhesive, one inside of each of the three shells. And, you need four half dollars and a close-up pad or other soft surface upon which to work.

Three (of the four) coins are resting on your thighs, one on the left and two on the right. If you prefer, just leave them in your lap. You are, of course, seated at a table opposite your spectators.

Necessary moves: The entire routine is based on two moves. Practice these for a short while, then the routine is quite easy to do.

The shells will be referred to as A, B, C, and W (for white). An underline (_) will indicate the location of the coin at any given point in the routine.

The steal: Place a coin under one of the shells. Grasp the shell with the thumb and first and second fingers of either hand. Push the shell across the pad and, as you do, tip the shell SLIGHTLY upward (away from you) allowing the coin to remain stationary as the shell continues to move.

The continued movement of hand and shell brings the outside edge of your palm (near wrist) in contact with the coin. (Fig. 1. The shell is still tipped slightly forward in the illustration only to show you the action. In performance, the shell would be back to "natural" position by the time your palm contacts the coin.)

Routine: Introduce the three silver shells and place them in a horizontal row on the pad with the unloaded one to your right.

Bring out the half dollar that's not on your lap and place that on the pad, also. The basic patter throughout is explanatory - "monte" or "pea and shell" type - "keep your eye on the coin," etc.

1. Place the coin under shell B. A B_ C Using both hands simultaneously, switch B and C, with C moving in front of B (that is, your right hand crosses in front between you and your spectators - of your left hand). A C B Your left hand slides C to the upper right corner of the pad. Your right hand slides B to the upper left corner and, in the process, steals the coin. Your right hand, with the coin, moves back to the center of the inner edge of the pad and then moves to shell A. Now, two things happen almost simultaneously: Your right hand moves A to the right side of the pad, loading the coin, and your left hand moves C a bit to the left - C remains near center; you just want the misdirection of both hands moving together. B The spectators believe that the C A coin is under shell B, but it's really under A. Reveal. Replace A onto the coin.

Your palm maintains this contact and can then slide the coin freely along the pad. This is similar to the action in David Roth's Chink A Chink (Apocalypse, Vol. I No. 1) except that your hand makes contact at a different area.

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coin. Lift W with your right hand to reveal the coin. As you replace W (not onto the visible coin) load the palmed coin as you just loaded A and B. Your left hand provides misdirection by turning over the visible coin as your right hand is loading.

2.

Switch C and A, with A moving in front Your left hand moves A to the A C upper right corner and steals the coin. Then your left hand moves C to the lower left corner, loading the coin as your right hand moves B to the lower right corner.

A The spectators beC B lieve that the coin is under A, but it's actually under C. Reveal. of C.

B

visible coin A

W

B

6. Each shell has a coin under it. Pick up the visible coin with your right hand and pretend to place it into your left hand. Retain it in your right hand, or lap it immediately. Ask a spectator to indicate any shell.

"Sprinkle" the coin onto his selection (or do a left-hand throwing gesture).

With your nearest hand, push forward the selected shell and lift it - revealing the coin.

As attention is on the coin, turn over the shell with your other hand as the third and fourth fingers of the hand holding the shell reach into it and pull the sponge ball free of the tape. (See Fig. 3.)

Place the shell (and hidden ball) onto the pad behind the coin. Reveal the other two coins and free the sponge balls in the same way.

Pause, then lift each shell rapidly to reveal the sponges - and to end!

3. Remove C entirely and replace it with the white shell. The rationale is - "This will make it easier for you to follow the coin."

All three shells (on the pad) now have a sponge ball attached inside. (The inside of C has been flashed once or twice.) Place W to center of the pad and put the coin under it. Place a silver shell on each side of the white shell.

A W B Slide A to the top of the pad. Now, again, two things happen just about at the same time. Your left hand moves W to the top of the pad but tips it slightly so that the coin remains in place at center. As soon as W clears the coin, your right hand slides B to the left, covering the coin and moving it to the lower left of the pad. A W B Complete step 3 by sliding A to the lower right corner. Reveal the coin under B. W This step has tricky angles. Watch B A your timing; done properly, the move is completely covered, and clean.

Smoothness (and timing) is the key. b. Move B (the shell only) to center and place W over the coin. W B A Slide W to the upper left corner, stealing the coin.

Switch B and A (A goes in front), loading the coin under B. W Reveal.

A B 5. Place the coin under W and slide the shells around just as before, but leave the coin under W. Finish with W at center and all shells in a row across the pad.

Pause, dropping your hands into your lap.

Classic palm a half dollar in each hand. Lift shells A and B showing that the coin isn't under either. Replace the shells and, as they contact the pad, release the palmed coins, allowing them to fall to the pad. Slide back A and B, loading a coin under each.

Pause again, then indicate W with your left hand as your right hand palms the last

Afterthoughts: Obviously, you'll have to go over the routine a few times - until you're familiar with the sequences of moves. Once you are, and your steals and loads are done smoothly - without hesitations - it's a unique and magical routine. Also, obviously, you can go into your favorite sponge ball routine from here.

NEXT MONTH Ken Krenzel - Transcendental Transpo Jim Lee - The Flying Signature Russ Burns - Instant Coin Change Joey Gallo - Swing Low

PUBLISHED, WRITTEN, EDITED:

Meir Yedid - Sponge Balls Color Transposition Production Philippe Fialho - Four Coins In Glass plus.

Harry Lorayne '306'

ILLUSTRATIONS: JOE WIERZBICKI

Anonymous

An Instant Flip-Over Change

This, and the following, look exactly the same to the spectator. A face-up card is snapped to the table and visibly changes. Yet, they're entirely different in concept.

control a card to a known position. Its position from the top is arbitrary; just be sure that there are enough cards to deal onto the table to give you "cover" - to help lose the originally displayed card.

I don't know whether this will fool magicians, but it's a good pick-a-card ending for laymen. Joel Siegel originally did it for me.

He told me that somebody did it for him, and that that somebody didn't know where he got it, and so on. I've not been able to trace it. I guess we can call it anonymous.

A key card comes in handy. You can use a pencil-dotted card; keep it on bottom, then get it onto the selection. Plenty of room for shuffling now. Just get the selection, and the key, to about a quarter of the way, or less, from the top.

Assume, for teaching purposes, that you've controlled a selected card to tenth from the top. (See Afterthoughts.) Start dealing cards , from the top, face down onto the table. Scatter them haphazardly, but not in too wide an area. This is the cover for the one sleight, as you'11 see .

Count the cards mentally. When you've dealt eight to the table, turn the next one (ninth) face up on top of the deck. As you say, "I received an impression; I think this is your card," pick up this face-up card, but take along the face-down card (selection) that's under it. In other words, do a back-toback double lift.

Move these two cards, as one, to your left fingertips, thumb on top, fingers underneath.

You're still holding the deck in that hand. By this time, your spectator has denied that this is his card.

Move your hands to about three or four inches above the already-dealt cards. The distance is something with which you'll have to experiment. Ask for the name of the selected card. As soon as it's named, snap the double card downward at its right long side. Snap it by snapping your right second fingertip off your thumbtip, in the usual manner.

The double card will do an instant flipover, landing on the other face-down cards.

The card you displayed, which is now face down, is lost - the selected card is face up. It is an instant change. (See Fig. 1 to see the position just before the snap, and Fig. 2 for position immediately after it.)

Now you don't have to count as you deal.

Just look for the pencil-dotted card. That's the one you turn face up. A corner crimp will also serve as the key. Or, just know the bottom card. As you deal to the table, openly glance at each card. It doesn't matter, because your presentation is that you're trying to receive an impression as the spectator concentrates on his card.

Afterthoughts; You'll have to experiment, maybe three or four tries, before you find the correct position of the double card above the table. When the card is snapped downward it has to flip over and land flat on the other cards. Try about three inches. The snap has to be with just the right amount of force, to get the instant (faster than the eye can see) flip-over.

As a matter of fact, I usually do it by simply forcing a card. I shuffle it to near top, as explained. Then I glance at each card as I deal to the table. When I see the forced card, I replace it to the top and pick up the last card I dealt. I turn it face up onto the deck, as I say that I think this is the card.

End from there.

I don't think I have to tell you how to

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Flicker

John Cornelias

The selected card snaps out and clear because your left thumb has moved back, with the indifferent card, and is no longer applying pressure on the selected card. What you have to think about is the smoothness, the fluidity, of the entire thing from the moment you start moving your left hand to the tabletop - or from the moment you start the "snap" action.

As I said, the effect here is the same as the preceding. But - no dealing to the table is necessary, and you do not snap over two cards.

Control a selected card to the top of the deck. Do a double turnover, displaying an indifferent card. As your spectator denies that this is his card, move the double to your left fingertips, as in the preceding. Except that, for this, your left thumb should be more or less across the outer end of the double card.

(See Fig. 1.)

If the selected card doesn't snap out freely and easily, it is probably because you haven't moved your left thumb back far enough to the left. In action, your left thumb should be near the upper left corner of the deck just as you snap.

Move your left hand to pretty close to the tabletop. As this hand moves, two things happen. Your right hand approaches, ready to snap the card to the table - as in the preceding.

And, your left hand starts to do a wrist turn.

The left-hand wrist turn covers the fact that your left thumb starts to pull the displayed card (of the double) back toward the deck proper. (See Fig. 2, which is your view just prior to the snap.) In action, that top face-up card won't go flush with the deck as in the figures; not as you do the snap. It flushes afterward.

Afterthoughts: Experiment with the distance above the tabletop. The closer the better - up to a point - for me, anyway. That insures that the snapped card goes straight down - flat. It shouldn't hit at an angle, or it will bounce around.

It is all one flow of action, of course.

Your right second finger snaps the selected card to the table - it should contact the selected card at its inner right corner area as your left hand completes both its wrist turn and the "flushing" onto the deck of the indifferent card. (See Fig. 3-) It is an instant, visual, change.

Geoff Latta

This, and the preceding, are interesting things to play with. Try them both - use one or both - they're good endings for "pick a card" effects - or for four-ace routines.

Copper-Silver Ttanspo Hold a half dollar (silver) in your right hand; and an English penny shell - with an English penny in it ("shelled" copper) - in your left hand. Openly display both coins.

Then, place the "shelled" copper into fingerpalm position in your palm-up left hand. With your right hand, place the silver coin onto, and slightly overlapping, the right side of the "shelled" copper; the forward edges of both coins should butt into the inner side of your left forefinger. (See Fig. 1.)

What I mostly like about this is the unique use of the shell. It may be a bit of a problem for you to obtain an English penny shell, but the effort is worth it because I've never seen this handling before. It's the way Geoff uses the shell that makes this a remarkably clean effect. English penny shells are being manufactured now - but, you can change the routine to use a stretched half-dollar shell. (See Afterthoughts.)

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Say, "I'll place the silver coin in my left hand, and the copper coin in my right; watch!" Your right hand picks up the "shelled" coin (copper over silver) and holds it, shell side up, on your right fingertips. Close your right fingers into a fist, turning over your hand at the same time. Your right second and third fingers push the "shelled" coin into classic palm - but only the copper shell will stay palmed; the silver coin will fall back onto your fingers. (See Fig. 5-)

Move your right thumb onto the inner (toward you) edges of the coins and push lightly toward your left forefinger. As you turn your left palm toward you, your right thumb holds the copper shell and the silver coin in a horizontal position by pushing them against your left forefinger - the copper coin remains in left-hand finger palm. (See Fig. 2.)

Geoff ends (after stressing which coin is where) by placing the right-hand (silver) coin onto the table; a split second later he places the left-hand (copper) coin onto the table showing the magical transposition.

Lower your right forefinger onto the upper surfaces of the coins (actually coin and shell) and grip them between your right thumb and fingers. Tilt the faces of the coins toward the audience as your left hand moves away.

(See Fig. 3.) To your spectators, you've simply taken both coins with your right hand.

Move your right hand toward the table and drop the silver coin onto it. Place the copper shell onto the silver coin, overlapping its right side. (See Fig. k.) Place your open, palm down, right fingers onto the tabled coins.

Your right fingers slide the copper shell to the left until you feel it slip over the silver coin. Immediately slide your right thumb under your fingers and lift your hand, pretending to pick up a coin. The spectators will assume that you've picked up the silver coin because only the copper coin is visible on the table.

Afterthoughts: The key to the routine, of course, is the pretended pick-up of the tabled silver coin and the placing of it into your left hand. Please don't make an issue over that. It must be a casual, natural, action. Apply a basic rule of magic - actually do what you will pretend to be doing once or twice, and then work at making the sleight look exactly that way.

Pretend to place the non-existent silver coin into your left hand, immediately relaxing and separating your stiffened right fingers.

This is an essential part of the illusion it must really look as if you've picked up a coin and placed it into your left hand. To make that convincing, your right hand must appear to be holding a coin; it would be gripped flatly against the inside of your fingers and held in place by your thumb. When that coin is supposedly placed into your left hand, your left fingers quickly curl around it, and your right fingers relax and separate, emphasizing the fact that the hand is empty - as they would if you were really placing a coin into your left hand.

You can reverse the instructions re: copper-silver and use a stretched half-dollar shell. The only problem is that an English penny will probably jam into the half-dollar shell. You'd have to either stretch the silver shell some more, or grind the English penny down a bit so that it fits loosely into the shell. Even easier is to find another copper or brass colored foreign coin (try a Chinese coin) that fits properly to begin with.

Whatever you use - this is a fine piece of close-up coin magic.

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William Miesel

All-Fair Moving Collectors

If you have the proper "gaffs" for this, the effect is straightforward and startling.

It's nowhere as long as my description will necessarily have to be. The basic effect is that two red-backed black jacks find two selections in a blue deck - and then change to two queens (or whatever you want them to).

careful not to separate the vital cards. Do a face-down ribbon spread, as you explain that you want the two black (red-backed) jacks placed face up into the face-down (blue-backed) deck, separated - one near each end of the spread.

You need a red-backed and a blue-backed deck, two red/blue double-backed cards to match, and two double-facers with one of the black jacks on one side and an indifferent card on the other.

Remove the two regular black jacks from the red deck and put them away - they aren't used in the effect. Replace them with the double-facers, jack sides facing the same direction as the rest of the cards.

From the blue deck, remove the two cards that match the indifferent-card sides of the double-facers and put them away. Replace them with the two double-backed cards - place the double-backers on top of the blue deck, blue sides up. Crimp the top (double-backed) card.

The third and fourth cards of this deck (just under the two double-backers) are the bluebacked QD and QH. Both decks are placed into their respective cases.

Pick up one of the black jacks, gesture with it toward an end of the spread and, at the last second, hand it to one of the spectators telling him to push it into the spread at that end. The reason for not handing him the card until the last second, of course, is that you don't want to give him a chance to turn it over. Repeat with the other jack and the other spectator! this jack is pushed in near the opposite end of the spread.

To perform: Remove the red-backed deck from its case and do a face-up ribbon spread.

Remove the two black jacks (double-facers) from the spread and leave them - jack sides up, of course - on the table. Flip over the spread so that all red backs are seen, gather and square the cards and replace them into the red cardcase. Place it aside.

Your rationale for all this is - you're proving that there is not, and cannot be, any "monkey business." Not only do the black jacks have red backs(?) but they're also face up; they're easy to keep track of.

Remove the blue-backed deck from its case; table riffle shuffle it, keeping the four top cards intact. Square the deck, then fan it and have two cards freely selected - any cards but one of the top four.

Gather and square the cards and turn the deck face up. Talk about the black jacks being magic cards - they'll help you find the two selections, and so on.

As your spectators look at, and remember, their cards double cut the top card of the deck (crimped double-backer) to the bottom. Be careful not to flash the face of the deck after the double cut.

Ask for the names of the selected cards, do your magical gesture, and ribbon spread the face-up deck. Two face-down red-backed cards are at center - the two selections are face-up between them.

Cut the deck and have one of the selections replaced onto the original top half, then place the original bottom half onto that. This automatically places this selection between the two double-backers - the rest of the set-up has also been brought to center.

As this is sinking in, slightly separate the cards at left and right of the four-card sandwich. Scoop up the lower half and drop it onto the upper half. (Fig. 2.) Pick up all the cards but the four-card sandwich. The two red queens are now on top of the deck. As you turn the deck face down and square it, obtain a left little finger break beneath the two queens.

Give the deck an overhand shuffle - when you get near center toss a block of, say, eight or ten cards so that you don't separate the double-backers, selection, and two red queens.

After the shuffle, lift the top half of the deck at the crimped card, so that the crimped card is at the face of the upper half.

(See Fig. 1.) The second selected card is replaced onto the lower half deck. Drop the upper half onto the selection (onto the lower half). Both selections are now between the double-backers, at center.

Repeat the overhand shuffle, again being

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Pick up the two face-down red-backed cards and drop them, as is, onto the deck. Ask if anyone remembers what these two cards are. When your spectators answer that they are black jacks, flip over the four cards above the break immediately spreading the two (now) face-up

queens.

(See Fig. 3.)

Your patter line as you do this might be "Actually, it's the red queens that are magic cards; they're also masters of disguise!"

Deal the face-up queens to the tables since the double-backers beneath them are now blue-side up, everything looks as it should.

The double-facers, of course, are still in the deck - be careful not to expose them.

Afterthoughts: What Bill does after showing the queens, is to scoop up all the cards and put them away.

The red queens, of course, are blue-backed and you can show this (red backs have changed to blue) as part of the "disguise" theme.

George Eisler

Four-Coin Production

This was familiar to me when George started to do it for me. It was "different" when he ended by producing FOUR coins. The basic idea is not a new one, but producing four coins that way - is. It's good as an opening for a coin-through-the-table routine, or for any routine that uses four coins.

Besides four half dollars, you need two small rubber bands - the kind you use to keep your folding half together. Criss-cross these around the stack of four half dollars. Place the stack on your lap. You're sitting at a table, opposite your spectators, of course.

When ready to magically produce the coins, classic palm the stack in your right hand - and get your audience's attention. Bring both open hands toward each other, crossing your right over your left. Deposit the stack onto the

back of your left hand! Continue to cross your hands, then start to uncross them. (Fig. 1.)

As you start to uncross, turn your hands fingers pointing up, and move them slowly apart. Your left hand must bend back at the wrist as far as possible. George says, "Bend until it hurts."

This is what makes the action completely open and disarming, and aids in keeping the coin-stack in place. But, more importantly, the rubber bands CATCH on hair and/or skin and

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keep the stack from falling. your view.)

(See Fig. 2 for

one at a time. (See Fig. 4.) The heels of your hands are just past the table's edge, so the rubber bands fall, unnoticed, onto your lap - or onto the floor.

Pause for a beat or two, displaying your completely empty hands. Then, move them toward each other again - palms still toward audience crossing right over left. Re-palm the stack in your right hand. The bulk of the four coins makes this easy - it would be difficult to cleanly re-palm one coin.

Afterthoughts: When I first saw George perform this, all the magicians at the table were fooled. As noted, it's the fact that four coins are produced that fools.

You can try using only one rubber band, but you're safer with two. One larger band, criss-crossed on the stack, might also work well. And, if you'd rather palm the stack in your left hand, no problem - just switch all lefts and rights in my description.

Do this with as little pause as possible.

As you uncross your hands, move them palm to palm. (Fig. 3-) Be careful not to flash here.

Move both hands to just above the table's edge, and rub them together, as you say, "Watch!"

Watch your angles, and try this.

The rubbing will remove the rubber bands!

As you rub, move the coins toward your fingertips and let them fall, noisily, to the table,

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

Ellipses (...)

To out-of-USA subscribers: Yep, the post office did it to me. As mentioned in the last issue, there's a new rule pertaining to oversize envelopes (Apocalypse mailed flat is now oversize, according to this new regulation)...a surcharge is put on each piece. I heard 18 different answers as to whether it affects overseas mail (USA subscribers aren't affected because the regulation doesn't apply to "bulk" mail). Finally, I was told that it definitely does apply.

So, rather than charge foreign subscribers more money for subscriptions, Apocalypse is being mailed folded once. Some of you have already received them that way. (Not the Dec. issue because that's over two ounces - so the rule doesn't apply...it gets complicated.) One good thing; experiment has proved that there's much less chance of bad creasing when it's mailed folded in half. Viva la Post Office!

From Tom Mullica: "I think of you every night when I do the Amazing Revelation Display out of QUANTUM LEAPS (at Tom Foolery's Magic Bar in Atlanta, Ga.) - I use eight selected cards. Did the "Display" for close up in Colon, Mich, and KILLED 'em!" Atta' boy, Tom! Martin Nash has not given up card magic, as I mentioned in a previous Ellipses (...). He mentioned (at the Magic Castle) that he might do so, and by the time it reached me, it was a fait accompli. Not so; as a matter of fact, I understand that he's busier than ever - with card work.

I have a beautiful "fast stack" method of his for a future Apocalypse. Phil Goldstein advises that Quick Hofzinser Quick (Oct., 1979) clearly owes a debt to Harry Riser's Hofzinser All-Backs, which appeared in print some time ago...it was mistakenly credited to Johnny Thompson. I never saw it, but promised Phil I'd mention it.

Haven't been, but hear tell that The Magic Moment Restaurant in Sarasota, Fla. (5831 Midnight Pass Rd. - tel. #349-9494)...owners: Chris Moore, Jeff & Gil Rosenberg... is a good place to visit.

The food, booze, and magic are excellent. Open invitation to any and all magicians to "Y'all come!" Quite a few magicians there every night.

Lovely idea from Nick Varga of Cleveland (Castle of Magic). He uses it for A Cut Above (Apocalypse; Feb., 1979) or similar effects. After the spectator cuts - apparently through the center of the predicted symbol (or card, or whatever), he says that he was so sure the spectator would cut through that one, that he drew an X on the back of only that one. He turns over the strips and shows an X (on the back of the predicted symbol) cut in half! Simple. Place half an X at each end of the strip - X • Check A Cut Above (Marcello Truzzi) if you don't know what I'm talking about.

• By the time you read this I will have lectured in Montreal (Morrissey), Tannen's Jubilee, The Magic Castle,'Pittsburgh (Cuckoo's Nest), my regular memory work in Manila, Philippines(! ), magic lecture in Tokyo, Japan, memory work in Chicago, Wichita, among quite a few others. I'm tired just writing about it! !

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.

•312

c

Hatty Lofayne's

THREE DOLLARS

VOL. 3 NO. 3

MARCH. 1980

pocalypse COPYRIGHT 19*0 by H. Lorayne, Inc.

ISSUE NO 27

Ken Krenzel Transcendental

If this is presented smoothly and properly it is an instant and VISUAL transposition of two cards - it's pure magic. Ken has staggered knowledgeable cardmen with this effect.

N Two gaffed cards are used, but once you prepare fj them, they can be used over and over again.

The preparation is simple. Use, say, two QH's and two 2S's (it's best to use contrasting cards) with matching backs, of course. Now, which cards are cut and glued is immaterial, but for explanation purposes - cut one of the QH's in half across its width, making two "ends," and cut one 2S in half across its length, making two "sides."

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Transpo

It isn't necessary to peel any cards since your spectators will never feel the gaffs, or see their full faces. Glue one "end" half of the QH onto the uncut 2S so that you have a card that's the QH at one end and the 2S at the other. Glue one "side" half of the 2S onto the uncut QH, so that you have another card that's the 2S at one SIDE and the QH at the other.

(See Fig. 1.) Discard the remaining cut halves or, keep them to make two more gaffed cards.

Perfectionists, of course, may prefer to peel the cards, cutting down thickness. In that case, you might want to pencil dot the upper left corner of each gaffed card in order to help keep track of the QH and 2S sides.

the full half of the QH shows. If it doesn't show enough, spread there with your hand.

Your patter is explanatory. You've placed the 2S onto the table, and the QH face up into the face-down deck. Now you gather the spread, reversing the deck side for side as you do.

That's the reason for the arced spread. Gather with your left hand - moving to your right and a bit toward you. This enables you to grasp the outer end of the deck with your right hand - naturally. Place the face-down deck back onto the table with your right hand - that end toward you (or take it with your left hand and place to table) - and you've automatically and imperceptibly turned the deck side for side.

Pick up the tabled 2S at its inner right corner with your right hand. Place it onto your palm-up left hand. (See Fig. 3.) The next sequence, doing the through-the-hand flourish, showing only the 2S end of the gaffed card, is Eddie Taytelbaum's - the "change" handling is Ken's.

Now, to set up for performance, you need a full matching deck (that has the regular QH and 2S in it). From top down, here's the setup: The "end" gaffed card with the 2S half (single thickness) toward you, then the normal 2S, then the "side" gaffed card with the QH half (single thickness) to your right, then the normal QH, followed "by the rest of the deck.

This can be set "before performance, or you can get the two cards into the deck and set up during performance - up to you.

Routine: Shuffle the deck keeping the top four cards on top. Double lift (since the single-thickness end of the second card is toward you, this is no problem) showing the 2S. Name it. Turn down the double and place the top card onto the table - keep the singlethickness end toward you.

Slip cut the (now) top card to the center.

Double cutting it to the bottom is no good, because it would be seen later on. If you like, you can double cut it to the bottom, then center cut some cards to the bottom to cover.

Grasp the card, lightly, with your left hand and turn that hand over (inward, of course, turning it back up - see arrow in Fig. 3)Your left thumb pushes upward at the card's inner end, in standard through-the-hand action.

Your right hand hardly moves, your left does most of the movement for the display and for the change. The 2S end comes into view, face up. (See Fig. 4.) Be sure not to push through more than half the card - or you'll expose the QH half.

Double lift again, showing the QH (you can do a quick shuffle before the lift, if you like). Turn down the double, take the top (single) card with your right hand as your left hand turns palm down - thumb riffling up at the deck's corner. The right-hand card is placed face down into the center of the face-up deck.

(See Fig. 2.)

Grasp the outer right corner of the card with your right fingers (which are right there), turn the card inward (toward you) end for end to face-down position, as your left hand turns palm up to receive it. (See Fig. 5 for a stopaction performer's view about halfway through this turn.) There is, of course, no pause.

Repeat the through-the-hand flourish exactly.

Do this two or three times (or four; up to you) in a fairly slow rhythmic way - displaying the

Immediately square and turn the deck face down again - and do a ribbon spread on the table. (Obviously, only the QH half must show.)

This should be an "arced" spread. The QH will show, face up, at center. This allays all suspicion (if there is any - there shouldn't be, of course); you place the QH, reversed, into the deck, and immediately show it in a spread. Do a pretty wide spread so that almost

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To clean up: You don't have to gather the spread leaving the gaffed face-up card at center. No; grasp its left side with your left fingers and turn it (toward you, because of the arc) face down onto the top (right end) of the spread. This action both prevents the QH half from being seen and creates the illusion that the full face of the 2S has been seen. Gather with your left hand as your right hand casually tosses the tabled (gaffed) card on top. Both gaffed cards are now on top, ready to be palmed off, or lapped.

2S each time. It appears, of course, as if both ends of the card is being seen - although you shouldn't mention that.

Now, the visual change. Do it without breaking your "flow" - your rhythm. Grasp the outer right corner just as you've been doing.

But, this time, just hold the card face toward you as your left hand moves to BEHIND the card.

The card rests on the inside of your left fingers (not the palm). (See Fig. 6.)

There is no pause in performance. Your left fingers close - turning the face of the card against your palm - AS your hand turns palm down doing the same through-the-hand flourish. The QH will be displayed exactly as the 2S has been displayed up to now!

(See Fig. 7.) It IS a beautiful, VISUAL change.

The illusion of showing a full face, as well as a full back, is perfect. This open, deliberate, action negates the thought of trick cards.

Afterthoughts: Well, it took a bit of explaining but it's a fairly quick stunner! Just try to visualize how this would look to your spectators. Everything, is done cleanly - there are no false moves. The 2S changes right under their noses - in full view, and the face-up card at center of the spread changes with no machinations on your part. It's completely CLEAN!

Don't stop; do the regular through-thehand flourish ONCE more, to display the QH again. Then, place this card face down onto the table, as you say something like, "Well, the two of spades has changed to the queen of hearts. What about the queen of hearts in the deck?"

Incidentally, I prefer not to palm off or lap the two gaffs immediately. I prefer to shuffle first, keeping them on top, then get them out. Or, I shuffle or cut them to the bottom and lap them DURING a double cut, using my own Double-Cut Lap, out of RIM SHOTS.

Ribbon spread (an arced spread, again) the tabled deck (don't lift it off the table - just spread); the 2S is seen face up at center!

That's the end.

(Commercial & manufacturing rights reserved by Ken Krenzel.)

ILLUSTRATIONS:

PUBLISHED, WRITTEN, EDITED:

Harry

Lorayne 315

JOEWIERZBICKI

MelrYedid

Sponge Balls

1) Color Transposition 2) Production open fingers. (See Fig. 3-) Then, by simply bending those fingers toward your wrist, the_ ball is brought under the palmed ball to "coinsteal" position. That is, it protrudes from your curled fingers near the rear of your palm.

(See Fig. 4.)

Actually, the color transposition is exactly the same as a copper/silver coin transposition, but Meir has some interesting handling of the sponges. You need three sponge balls - two of one color, one of another. Let's assume, then, that you have one regular (call it red) ball, and two green sponge balls. The effect is performed seated at a table. One of the green balls is palmed in your left hand. The remaining two are on the table - red to your left, green to your rifht.

With your right hand, pick up the red ball. This is placed into your left fist, via the thumb opening. When your left hand closes into a fist, the palmed (green) ball is rolled and compressed under your left fingers which curl tightly up to the top part of your palm.

The red ball is pushed into the left thumb opening with your right forefinger - it is pushed through the fist so that it ends up near the left side of your left hand, and held in position there.

(See Fig. 1, which is an exposed view with the left thumb opened so that you can see the exact situation.) From spectators' view, since the backs of your left fingers are toward them, it appears simply as if the ball is being placed, normally, into your closed left hand.

Your right hand moves back toward the table edge as you look at your left fist, and say, "Red ball here." At this moment, let the green ball, that you just picked up with your right hand, fall into your lap. Immediately move your right fist forward, away from the table edge - "And the green ball here."

All that remains is the buildup. Finally, show that the balls have magically changed places.

Production:

In action, your left thumb opens only slightly to allow the ball to enter. Also, in action, the ball in your curled fingers would be squeezed - taking up much less space than in the illustration.

This is a platform, rather than a closeup, production. It would fit perfectly if you do a billiard ball routine that uses the balls that are made to look like sponges. You'll have to find a way to fit it into a routine; it's a simple, but effective, thing.

This (red) ball is almost immediately stolen out of your left hand, using a fairly standard (by now) coin move. As your right forefinger points to and touches your left fist, saying, "Remember, the red ball is here," your right second and third fingers straighten and grasp the ball beneath your left fist.

(See Fig. 2.) Bend your right second and third fingers, bringing the red ball into right-hand palm position. The left hand is open in this figure for clarity's sake. In performance, it would be closed at the moment depicted.

Hold four sponge balls between your fingers, as in Fig. 5- Note that the one held by your thumb is a bit lower than the others. Now close your hand into a fairly tight fist. The thumb-held ball almost automatically goes into (almost) thumb-palm position. (See Fig. 6 for your view.) The sponges are still between your fingers. From the front, all that's seen is a closed fist.

In a continuing action, as you say, "And the green ball is here," your right hand picks up the tabled green ball. Pick it up with your

To magically produce the balls, simply reach to your left as if to catch them - and open your fingers wide (and smartly) to get

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"back into the position shown in Figure 5- Onlyone or two tries will enable you to handle the thumb-held ball easily. It rolls upward, as your hand opens, against the ball that's held between your forefinger and second finger - or,

close-up work, I rarely see sponge balls used any other way but for a vanish from one hand and appearance in your other hand - or in the spectator's hand. Color Transposition is a little different, and is a good lead-in for a standard sponge ball routine.

The Production is a startler. It can be done with both hands simultaneously, of course.

You'd have to work out a way of placing the balls on your table so that they can be picked up in position - instantly and secretly.

against the side of your forefinger. (Fig. 7 shows this with the other balls removed.)

Or - after you've produced four balls between the fingers of one hand, with the standard billiard-ball-routine method, Production can be used as the "kicker." An instant production and a cross-hand display of eight balls.

Or - Meir suggested threading sponges on a thread that's inside your jacket. They'd be spaced properly so that they'd go right to position between your fingers as you reach inside your jacket. Your hand would have to move down to un-thread the balls. Then, come out in fist form, ready for the production. This can be done with both hands, one hand at a time. As one hand is dropping its balls into a box or whatever, the other hand loads. You can magically produce 16 to Zh balls that way.

Work on it.

Spread your fingers wide apart so that the balls can expand to full size. It really is an instant one-hand production of four balls.

Afterthoughts: Both Color Transposition and Production deserve your attention. For

Jim Lee

The Flying Signature

There's an interesting concept here; I'm sure variations of the theme will arise. It's a good effect as is, however. The basic effect is that a spectator's signature magically travels from the back of one card to the back of another. A reversed card also magically re-reverses itself.

Turn the deck face up again, spread it once to show the (now) face-down 3H - and also to let it be seen that there's nothing on its back; don't mention anything about that, just let the card's back be seen. As you square the deck, get a left little finger break below the reversed 3H. . . . .

Have any deck shuffled, turn it face up and let the spectator select any face-up card.

Let's assume he selects the 3H. Have him sign his name across the FACE of the card. Place the pen onto the table - at a spot where the spectator would have to reach for it later.

Turn the deck face down and tell him to place the face-up J,V. into its center.

"Your signature is on the face of the three of hearts; now let's put your signature on the back of this card." As you talk, pick up the tabled face-down card and place it, face down, onto the face-up deck. Ask the spectator to sign its back. He has to look for, and reach for, the pen in order to do this. That gives you more than enough time, and misdirection, to side steal the face-down 3H onto the top of the deck. Everything looks the same, of course.

Spread the face-down deck to show the face-up 3H again, and to show that it's the only face-up card in the deck. At the same time, ask him to remove any face-down card. This is NOT looked at; it is placed, face down, onto the table.

Let your spectator sign the back of the top face-down card. He thinks he's signing an unknown card; actually he's signing the back

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Build up to the end. Re-cap the situation - the 3H signed on its face, and an unknown card is signed on its back. Both are face up in the face-down deck. Do your magical gesture and ribbon spread the deck to show only

of the 3H. There are now two face-down cards on top of the face-up deck - your spectators are aware of only one.

Lift the two cards, as one, in position for the Tenkai steal. (See Fig. 1.) Say that you'll place this unknown, signed, card to the center, near the 3H, and also reversed. As you talk, match action to words. Your right fingers swivel the lower of the two, aligned, cards into Tenkai palm as the top, signed, card is placed to the center of the deck (See Fig. 2.) As you know, the back of your right hand "shades" the "Tenkaid" card.

one face-up card - the 3H. Look over the backs with the spectator, pointing out that there is no signature on any of the backs. Finally, let him turn over the 3H - there's his signature on its back. One signature has flown to join the other!

Afterthoughts: Of course, the Tenkai steal, and then the load, has to be done cleanly and imperceptably. Do that, and the effect is inexplicable to the layman.

Obviously, you have to watch your angles when you "Tenkai" and re-load the indifferent, unknown, card. If that bothers you, Tom Craven suggests the following, easier and angle-proof, method.

As you say that you'll place the second signed (on its back) card reversed to center, lift off both face-down cards in regular doublelift fashion with your right hand. Your left thumb flips the deck face down as you place the double card onto it. Then, as if you made a mistake, say, "Oh no; it should be reversed to center." Lift off the single top card as your left thumb flips the deck face up. Place the card face down on the face of the deck and cut the deck once. You're set to end.

Push the visible face-down, signed, card flush and immediately flip the deck face down with your left fingers. The Tenkaid card is loaded onto the deck as soon as it flips face down. (See Fig. 3.)

and Ice-O-Teric NEXT MONTH - Michael Ammar's Frozen Deckery Nick Pudar's Recalled Michael McGivern's (Ring) Knot Really Marv Long's Sticky Cards William Goldman's Pennies From Heaven Andre Robert's Tele"Vision"

. .. plus

A Lorayne Storm When I did close-up magic for a living, I did a pea and shell routine - walnut halves and the rubber pea. I couldn't remember it on a bet, but it's easy enough to put a routine together.

The difference was that the pea changed color a few times during the routine.

Easy enough; I had a different colored pea on the point of a straight pin which was stuck through the cloth under each of my lapels. Easy to steal with either hand, and easy to load during the routine. When I stole the pea from under a shell with one hand, I'd load another with the other hand.

More colored peas can be stuck on pins under your jacket, just as you'd hide a cigarette dropper.

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Russ Burns

Instant Coin Change

The suddenness of this change is what made me do a double take the first time Russ did it for me. He does a complete routine utilizing it, but I want to teach you only the change now.

The moment the copper coin comes into view, toss it up a few inches and let it fall back onto your palm. This is important; it's disarming, and subliminally proves(?) that your hand is otherwise empty. And, of course, the rear thumb-palmed coin is kept at the rear, out of sight.

Have, say, a copper coin classic palmed in your right hand. A half dollar is displayed between your right first and second fingers.

It is held near the fingertips, in preparation for a thumb palm. (See Fig. 1.) Of course, you can display it between thumbtip and first and second fingertips if you prefer, then get it to the position in figure 1 just before you do the change. Note that the palmed coin can not be seen as you display the silver coin.

Turn your right hand over to the left and palm down in a sweeping movement placing the copper onto your palm-up left hand. (Fig. 5-) If your hands are raised to about your chest level, the thumb-palmed coin is out of your spectators' line of vision. Move your right hand, as is - palm down - off the coin, displaying it on your left hand. ... .

Turn your right hand palm up. As you do, the silver coin is brought to REAR thumb palm.

(See Figs. 2 and 3.) These figures are for teaching purposes; remember, the hand is turned Now, do the same sweeping turnover with your left hand, slapping the coin onto the back of your right hand. (See Fig. 6.) You're sup-

6 4 posedly showing both sides of the copper coin.

But, from here, as you remove your left hand to display the copper, take the right rear thumbpalmed coin in REGULAR left-hand thumb palm.

(See Fig. ?.) You're in perfect position to do this.

palm up as it's done. (See Fig. 4.) Of course only the copper coin is seen on your palm. It really is an INSTANT change.

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palm. This is a quick final display, taking attention away from your left hand. As soon as you catch the coin on your right palm toss it onto the table. You have plenty of time, and misdirection, to get rid of the left-hand thumb-palmed coin.

As your palm-down left hand moves away, your right hand tosses the coin upward (off the back of the hand) and turns to catch it on its

Afterthoughts: Go over the sequence carefully; it's well put together. The basic change is startling, and the sweeping to left then to (back of) right hand movement is the display of both sides. You don't need sleeves or a surface, but you do have to watch the angles.

Joey Gallo

Swing Low

Joey is about eleven years old. Part of his close-up repertoire is my own Snappy Flush, out of AFTERTHOUGHTS. He does it well. When he was practicing it he had some trouble learning my HaLo Cut. So, he came up with his own sleight to take its place. I think it should be recorded - I wish I'd have thought of it.

The object (as with my HaLo Cut) is to really cut the deck, but to keep the bottom card at bottom. And - to use no get-ready whatsoever. Joey uses what I've always called the "swivel" cut, but which I believe some refer to as the "swing" cut.

Start the swivel cut. That is, the deck is being held from above with your right hand.

The side of your left forefinger strikes the inner end of the deck and starts to move the top half away from you. (See Fig. 1 to see this starting.)

Ordinarily, for the normal cut, that top half would continue to swivel outward (clockwise) until it falls onto your left palm. Then the right-hand half is dropped onto the "swiveled" half. Cut completed.

That's exactly what happens here, except as soon as the top half starts to swivel out, your left thumb moves upward so that the very tip of it contacts the bottom card. (Fig. 2.)

There's no pause, of course. As the swivel continues, LIGHT pressure of the left thumbtip on the bottom card simply carries that bottom card along with the top ("swiveling") half!

(See Fig. 3.)

That's all. Complete the cut as you ordinarily would. The deck has been cut, but the bottom card is still on bottom!

Afterthoughts: After a bit of practice, this is a smooth and pretty move. Joey did only the one routine for me, but I'd wager that if you didn't know my Snappy Flush - he'd fool you!

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

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I

Philippe Fialho

Four-Coins-In-Glass

I saw Philippe fool a roomful of European magicians with this routine. It contains some interesting touches. And, of course, Philippe does the lapping with absolutely no hesitations or pauses.

Routine

holding the glass as described. Move the coin to above the opening of the glass.

(Fig. 3.)

You're sitting at a table opposite your spectators. You need four coins (quarters or half dollars) and a small glass. In Europe, this kind of glass is sometimes used for wine; here, it's a small juice glass. Just like a regular water glass, but smaller.

The glass is to your right, the coins are in front of you. Toss the coins, one by one and casually, into your right hand, counting them as you do. Dump them into your left hand, retaining (secretly) one coin in your right hand. Your left hand closes as it receives the three coins.

Here comes the first lapping move, and Philippe would fool you with it. As he leans forward, calling attention to his closed left hand, he moves his right hand to pick up the glass. It's as that hand moves, that the coin is lapped. There must be NO pause whatsoever.

Just reach for the glass - that's all. Keep your right fist loosely closed and just let the coin slide out of it as you move.

Slap your left hand, opening it, against the tabletop. Pause for a beat - then let the hidden coin drop, noisily, into the glass. Remove your left hand to show only three coins.

Bring the glass into view, keeping the bottom covered. This is easy; your fingers cover the lower part of the glass because it's a small glass. (See Fig. k.)

Grasp the glass around the mouth (rim) with your right thumb and second finger. This leaves your forefinger free for retrieving lapped coins, as you'll see. (See Fig. 1.)

Ask, "How many coins in the glass? One, right." Dump the coin out of the glass to your right, leaving the glass, mouth up, near it.

Place the other three coins into your right hand, near your fingertips. Show them to a spectator to your LEFT. Toss them into your left hand, retaining one coin in your right hand. Simply hold back the coin nearest your thumb. (This move is described in detail in my book, THE MAGIC BOOK.)

Philippe keeps his right hand closed as if he were hiding a coin in it. Then, as he talks, he opens it - still holding, the glass.

Go under the table with your right hand, and the glass. As you do, grasp the lapped coin between your right thumbtip and forefingertip. (See Fig. 2.) This is the reason for

The stolen coin is lapped as, without pausing, you move your right hand to your right to pick up the "passed" coin and dump it into the glass. The lap is as before. It's even easier since the coin is near your fingertips.

It must be lapped as you move, NO PAUSES. You are simply reaching to drop the passed, visible, coin into the glass.

Go under the table with the glass, retrieving the lapped coin. This time, make a magical gesture with your left hand, let the hidden coin drop into the glass - then open your left hand to show only two coins.

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As you say, "One here, and three here," your left hand picks up the "unpassed" coin.

Let it fall to the little finger side of your fist. As you dump the two coins out of the glass - toward your left - let the one coin come out of your left fist to join them. Your left fist is moving away as you dump the coins out of the glass. (Han Ping Chien move.)

Let the two coins slide off your left palm onto the table as your right hand brings the glass into view. "How many in the glass? Two, right."

Philippe's finesse here is - he starts scooping the two "unpassed" coins into his left hand AS he's dumping the two "passed" coins from the glass to his right with his right hand - and then dumping them back into the glass.

With your right hand, dump the three coins, singly, back into the glass. Take the glass under the table, retrieving the coin that's still on your lap. Make your magical gesture, let the hidden coin clink into the glass, show your left hand empty, bring up the glass and slide the four coins onto the table - to end.

With your left hand, scoop up one coin.

Without a pause, scoop up the second one but let it fall to your lap. (Standard "scoop off table into lap" action.)

Afterthoughts: Go over this routine carefully. Note some of the subtle touches. I think it's a fine routine. Another of Philippe's touches is - he looks down into the glass as if checking how many coins it contains, but - he really looks into his lap to locate the lapped coin! This is to eliminate fumbling as he goes under the table. He knows just where the coin is lying, so he can pick it up without looking, and without hesitation.

It should appear, of course, as if you're looking into the glass.

The routine is extremely magical in Philippe's hands. After some practice, it should be so in your hands, too.

Say, "Two coins," indicating your left fist. "And two coins here," indicating the glass. Go under the table with the glass, but do NOT retrieve the lapped coin.

Do the "penetration;" make the sound by giving the glass one shake. Show only one coin in your left hand as you slap that hand to the table. Bring up the glass. "How many in the glass? Three, right." Because of the way you are holding the glass, with the bottom covered, your spectators can't see how many there really are. Don't dump out the coins yet.

Mark Levy

Time Out!

This will seem like (and probably is) quite a simple and obvious idea. Yet, I feel that it's one of those things that just may be longer remembered by laymen than the long, difficult, sleight-of-hand routine. That is, as usual, if it's used - presented - properly.

It's also a good way to leave one of your business cards with a spectator.

At performance, you might say something to the effect that you intend to work for fifteen minutes, but you forgot to bring an alarm clock with you. So - you'll draw one.

Here's the basic idea - use it as you like. At center of the blank side of the top card of a stack of your business cards, draw a clockface. You can use the numbers or simply draw a small line for each number, as some real watch or clockfaces have. Do not draw in the hands of the clock. Drawing the clockface is just to save time. You can, if you'd rather, do it just before performance. Turn this top card printing side up, as are all the others.

Just before you're ready to perform, find a moment to secretly draw in the hands of the clock. The time to have those hands show is up to you. Assume you intend to do a fifteenminute performance. Then draw in the hands to show the time fifteen or sixteen minutes later than it actually is. So, if it's 9:00 o'clock, draw the hands to show 9:15 or 9:16. (See Fig. 1.) Replace the card blank side down on top.

Bring out your stack of cards and double turnover the top two, displaying a blank. Draw in a clockface - to look as close as possible •322

to the one already drawn - and draw in the hands to show the time at. that moment (9:00 or 9:01, this example). Make an issue of that have someone look at your watch, to check it.

that it's time to stop! a look at it."

Take

A spectator turns over the signed business card and, of course, everyone sees that the hands now show the current time (9:15 or 9:16)!

Leave the card with a spectator as a souvenir.

Double turnover, bringing the printed side up, and have a spectator initial or sign that(?) card. Of course, he's signing the printed side of the card that you previously prepared. Place it aside. I'd suggest you put something on it, like a saltshaker, "So that I can't touch it."

Afterthoughts: This reminds me of "Out To Lunch," a close-up effect with small cards that was popular years ago. The same effect could be done that way - more preparation would be involved.

Now, do your close-up stuff. You might keep glancing at the signed card - as a running gag - saying, "No, not time to quit yet," or something to that effect. Watch the time and come to an end when your watch shows exactly 9:15 or 9:16 (this example). Use a line like, "That's it, my alarm clock just told me

Out 7b Lunch

How do I know?

The presentation I've suggested is mine and I've used it only as an aid in explaining the simple idea. Use that, a variation of it, or whatever you can come up with. It's a simple idea - but good!

continued from page 288

As I mentioned in the last installment the bartender at The Little Club finally solved the drinking problem for me - with Horse's Necks. I spent most of the time, when I wasn't working at tables, sitting at the bar. It was there that I met, and became friendly with, a fellow named Mickey Jelke. We used to go out, after my work, to have breakfast together.

Quite often, he'd have some pretty girls with him - girls I'd seen around the club.

At The Little Club the table card told the customer to ask the waiter or maitre D' to send me to the table. I was also permitted to solicit, without making a pest of myself, of course.

Approaching a table "cold" is not an easy thing to do - at least it was never easy for me. On a slow night, however, I'd have no choice. I would never approach a customer and say, "Pick a card," as I've seen some table workers do. To me, that seemed like forcing the Issue (if not the card!). I would simply introduce myself, and ask if they'd like to see a few minutes of magic.

It wasn't until newspaper headlines broke all over the country that I realized he was the head of the largest call-girl operation in America! Pat Ward, one of his girls, had breakfast with us occasionally.

The tips, obviously, were usually smaller when I did that than when I was requested to join a table.

It seems that Mickey's "headquarters" were right there at The Little Club - I did notice that he was always on the telephone! - I, of course, had no idea of what was going on, and never took advantage of it!

The truth of the matter is that the "tip" idea started to bother me. I started to feel that it was a mercenary way and, more important, a not very dignified way to earn a living.

Working for a set fee per table would have solved that; on the other hand, I wouldn't have made nearly as much money.

One of the questions I'm usually asked by magicians who'd like to do table work for a living is - How do I approach a table?

It was a "mixed emotion" situation. The Little Club represented the top of the field for a close-up worker. I had reached the top pretty quickly and, after a while, wasn't that thrilled with the situation. It's a big letdown when you attain a cherished goal and then find that you're not that happy with it.

Well, again, that's according to circumstances. If you're working under a specified fee situation, you have to wait until you're asked. The table card should state how, or whom, the customer should ask for you. It must also state the fee.

It's difficult to describe my feeling at the time. It was something like - where do I go from here? Where can I go with table magic after reaching the top - and at a very young age, at that?

If you're performing for tips only, it's still according to the policy of the club or restaurant. The owner may not want you to solicit. Customers would still have to ask to have you sent to the table.

to be continued...

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Ellipses (...)

Amazing how true a cliche can be...the one I'm referring to is that you can't please everyone. Received two letters, from subscribers, on the same day...both praising Apocalypse highly; then, one said that I include too many illustrations...many of them aren't essential. The other suggested that I use more illustrations...they're a great help to him in learning the effects and routines. Wonder how they (and you) reacted to the fine illustrations that started with the February issue? Let me know.

Has anyone ever made that thing work...the effect where you jab a knife into a jar full of rice, and then you can lift jar and rice with the knife? I've tried it on and off for over forty years...haven't gotten it to work yet! Not that I'd ever use it - but I've seen it in books all through the years...I'm sure the authors never got it to work either - just assumed it did.

It's good that Pete Biro has found another outlet (Genii Magazine) for his ramblings. We were running low on "hatchet" men. Give someone like that a couple of readers and the smallnesses, the pettinesses, the jealousies, force themselves onto the page. He devoted a paragraph to me, re: my book, THE MAGIC BOOK. Thinks I'm exposing, and feels I haven't given credit...for public domain things like a double lift, a palm, a jog shuffle, a standard coin vanish, and so on. (Those of you who have the book know that I did give credit where warranted.)

I won't answer Biro directly for two reasons. l) I won't honor that silliness with a direct answer...2) I already answered that kind of snivelling jealousy in my editorial on "exposure" way back in the April, 1978 issue of Apocalypse. I suggest that Mr. Biro spring, for a few bucks and read that editorial - if he can.

Frankly, my exact feeling at the moment is that I'll fight to the death for his right to print anything he likes...the assumption being that he'd fight for my_ right to do the same...and to tell him that he doesn't know what he's talking about, and that I have two words for him...

NEITHER one of which can be found in my dictionary!(All together now - for Pete - "Booooo!")

Al Cohen (Al's Magic Shop, Washington, D. C.) did a funny gag for me at Tannen's Jubilee.

It's startling, and a strange feeling. As you reach out to shake someone's hand, bend your thumb down into your palm. The hands just go right by each other...the other guy's hand moves up onto your forearm! Crazy. People are talking about The Amazing Joseph's act (night before; at the Jubilee)...his giant card to dove and floating dove are great...marvelous stage presence for such a young man. I lectured at the Magic Castle... full house, standing room only. Nice people; enjoyed it. Caught the Larsens' It's Magic show while in Los Angeles... another full house, great show. Outstanding - Goldfinger And Dove...but all acts great.

A young, inexperienced magician asked me if he could try for a job doing close-up table magic at a top club in his city. I wrote him that he might get the job but I didn't think he'd hold it long, without experience. He wrote back to say that he knew many tricks... learned most of them from my books...and was killing them with effects out of QUANTUM LEAPS...didn't that mean he had "experience"!? I suggested he find work in a not-such-a-top club first; you usually learn on the job...why take a chance learning at the top club? Reminds me of the way I sometimes make this point at my talks (not magic)...1 mention that I received my driver's license in New York City many years ago. But were they putting an "experienced" driver on the streets?

Of course not. What they were putting on the streets was a dangerous weapon! I couldn't drive worth a darn when I got my license. I learned by driving in the crazy New York City traffic!

If you survive, you learn!

Whose idea is this?

Love to give him credit.

Don't recall who showed it to me.

Write

this: /oUi/ffijc/ on a business card. Display with your thumbtip covering the "dot." Point out • that there's no dot on the i of "nine." Turn face down and place aside.

Draw a dot ( • ) on another scrap of paper...then burn it. Gesture magically and turn over the business card. Show the word upside-down, and it looks like "nine" with the dot! For the index. . .Dotted I...under Anonymous, unless someone can tell me who it belongs to. (If more than ten people claim it, it will remain "Anonymous"!)

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

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Lotayne's THREE DOLLARS

VOL 3 NO. 4

APRIL, 1980

pocalypse ISSUE NO. 28

COPYRIGHT 1980 by H. Lorayne. Inc.

Michael won first place in two close-up contests with this effect.

He uses it "for the money." He feels, and I agree, that it won't be widelyused because of the preparation necessary. I do feel, however, that it should "be recorded - the effect is really a reputation-maker (pardon the expression!). All you have to do is read it to see that that is so.

I can see where it would be unbeatable in certain situations for clubs, bars, and even some stages - not to mention television. (The routine that follows this one - Ice-O-Teric is a more convenient variation of Frozen Deckery. Oh - and Vincent Sabatino deserves the credit and/or blame for the title, Frozen Deckery!)

Michael Ammar Frozen Deckery

Basic effect: A card is selected and a corner is torn off the card in order to identify it. The rest of the card is torn into pieces and burned. These pieces vanish in a flash. The cardcase is turned over and out comes a block of ice, the size of the cardcase, and which contains a card frozen in its center!

The ice is chipped away and the card is the selected card.

Preparation: The most difficult thing about this routine, for Mike, was finding a way to freeze a card into the CENTER of a block of ice.

Ordinarily, the card would either rise to the top or sink to the bottom. Another problem was to make a block the exact size of the cardcase.

He found that paneling nails, at the hardware store, come in a plastic box the same length and width as a cardcase. (Look around; you'll find other plastic or metal containers that fill the bill.) To freeze a card into the center of a clear block of ice, you must go through three freezing operations. First, fill and freeze a block of ice about half the thickness of the deck. That

325

is, half the depth of your container. (See Fig. 1.) When that's frozen, remove it from the container and keep it frozen. Then freeze another portion the same size. When this one is frozen, don't remove it from the container, but place the card with THE MISSING CORNER on top of it. Keep the corner for the routine, of course. Then, place the first block of ice on top of the card proper and the new "block of ice - in the container - sandwiching the card between the two blocks. (See Fig. 2.) Add a little more water, and re-freeze. This seals the card, full-sized, inside a clear block of ice. Do it once, and you'll see it's easy.

Tear the card into pieces and fold them into a piece of flash paper, which is switched for an empty, folded, piece of flash paper.

The pieces of card are ditched as you bring out the icepick and stick the switched-in flash paper onto its point. (See Fig. 3.) Touch your cigarette, or whatever, to the paper and the pieces(?) are gone in a flash.

ICE*I CARD ICE*2

Mike's patter lines, at this point, come from the Paul Harris routine Absorption, out of LAS VEGAS CLOSE-UP. "If you can answer the following question correctly, then I will perform a miracle. Does the word 'icycle' appear on this cardcase?" Whatever the answer - "Yes, it does! If you cover the B (on a Bicycle deck) you have 'icycle.' (This is not the correct spelling of the word - but it doesn't matter at all.) You see, it's not a Bicycle deck, it's a B-icycle deck. And with every B-icycle deck you get a B-iceberg."

Place the ice block into a cardcase and keep it in a freezer until needed. You will also need flash paper and an icepick.

Routine: The switches, etc., will be left up to you. Each person that uses this will be forming his own presentation and handling. The card, of course, must be forced. Mike tells me that he uses my Lorayne Force, among others.

I, personally, would use either the classic force or my HaLo Cut Force out of QUANTUM LEAPS. The fairness(?) of the selection should be obvious.

After the cards are removed from the deck, before the card is selected, the cardcase is switched for the case with the ice block. No problem here (not if you don't make a "move" out of it) - nothing has happened yet. You might simply place it into your carrying case, then take it out again. Or - reach into your case for, say, the flash paper - and do the switch.

A corner is torn from the forced card and switched for the corner of the card in the ice block. The remainder of the card is caused to vanish. Although any vanish will suffice, Mike tears it into pieces and uses flash paper and the icepick. It's a reason for having the icepick available later - and you have a "fire and ice" theme.

As you finish this statement, turn over the cardcase, set its open end onto a tray (or plate), and lift the case up and away from the ice block - leaving the block standing with the imbedded card facing you. (See Fig. 4.)

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Set the ice, flat, onto the tray. With the icepick, chip away only the ice from where the missing corner is, and let the spectator match the corner while three-fourths of the card is still frozen into the ice! Leave the block of ice with the audience. (See Fig. 5-) Afterthoughts: If this isn't something that will be talked about for a long time, I don't know what would be! I haven't tried this one myself, but I sure can visualize the reaction it would get.

The effect that follows also uses ice, is a bit easier to prepare, and can be used by a nightclub or restaurant table worker. So can Frozen Deckery, of course. Prepare a bunch of ice blocks and keep them in the club's freezer.

Take out one at a time as you need them.

Can you imagine the reaction when your spectators see a block of ice with a card frozen inside?! Even though they see the corner missing they still don't believe that it's the selected card until you turn the block around, exposing the face of the card.

Michael

Ammar

Ice-O-Teric square the cards. Side steal the card into your right hand and hand the deck back to the spectator, (Mike mentioned that he knows I said that I rarely use the side steal, but that when it's well-done here, nothing is suspected and the spectator is positive the card is lost. Of course, any steal can be used.)

Although other folds may be used, Mike uses the one described in EXPERT CARD TECHNIQUE, on page 306 - but face of card outward.

This folds the card into sixths, and it's done with one hand. The same fold is used during the routine. Fold the card into thirds lengthwise, then once in half the other way. (Fig. 1 shows the entire process.) Fold as many as you plan to use. Place these into the spaces of an icecube tray. Fill these with water and freeze to form "card-cubes." (If you want to fold the cards faces inward, you'd better have a way of knowing which card is in each cube.)

The patter as this is being done, is - "A magician has two advantages when he's performing; first, you don't know what's going to happen, and second - you don't know where to look. But this trick is so easy, that I'll

When in a restaurant or night club, Mike leaves the cubes in the tray, in the freezer, after loosening them. (It's best to run water over the back of the tray to keep the cubes from breaking when removed.) He has a small thermos cup in his close-up case which holds several card-cubes. Beside the cup he keeps a napkin or wash cloth to be used later.

tell you what's going to happen, when it's going to happen, and where it's going to happen.

If you catch on, that's fine; you'll have a trick that you can do for your friends." (Mike uses a very casual, matter-of-fact presentation; his spectators relax and allow themselves to be misdirected easier, because they believe him.) Continue - "Take the deck, cut it twice and shuffle it three times. On the third shuffle, the card you're thinking of will fly out of the deck, face up, while it's in your hands!

Keep your eye on it, sometimes it pops out early!" (This should cause all attention to be on the deck the entire time.)

Presentation: Force the proper card. Let the spectator shuffle the card into the deck.

Take the deck and run through the cards, face up, to show that they are well-mixed and that nothing has happened yet. As you sight the forced card, get a break under it, continue running, through the rest of the deck, then

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cloth.) Set the glass down and bring your right hand over your left and squeeze the two together. In the process, your right hand thumb palms the folded card, and releases the ice cube into your left hand.

This is all said as the deck is handed to your spectator. By the time the deck is cut twice, you should have the card folded via the method explained and held in your right hand.

The folded card resembles a V, with the open end along your middle finger only, and the bottom facing out of your hand. As you call attention to the cuts and shuffles, telling them to "keep their eyes on it," and pointing to the deck with your left hand - your right hand moves up to your glasses with the back of the hand toward your audience. Without a break in patter or rhythm of movement, load the card down behind your glasses as you adjust them.

It'll look as if you've got a "card eyepatch."

(If you don't wear glasses, any folded card production will do. Some may be able to keep the card in place like a monocle.)

On removing your right hand, it will seem as if you have condensed the water and card into a "card-cube." Hand out the ice, replace the wash cloth into the case and leave the card behind - you've just performed a miracle!

Mike says that even though the "card in the eye" can only be performed by people who wear glasses (obviously - except for those who can wear it like a monocle) he included it for two reasons. 1) It gets an unbelievable reaction. 2) Performing it is a real lesson in misdirection. He feels that you'll learn a lot from performing this effect. He also believes that the people watching (even those who might catch the loading behind the glasses) realize the impossibility of it all.

When the shuffling is done and nothing has happened, your audience will look up at you.

Some will notice the card right away, while others will have to have it pointed out. "The reason I told you to keep your eye on it was because I kept my_ eye on it!" (Mike says, "You really get a good feeling doing this trick.")

Afterthoughts: I know that some magicians who don't wear glasses will put on a pair just to present this effect. I know I would.

Mike does the effect with a borrowed deck because the card is folded into the cube face up and the back can't be seen. He feels that if the circumstances are such that he'll be gone when the icecube melts and the back can be checked - he couldn't care less! Also, he can do it "impromptu" because he keeps a folded piece of chamois (chammy) cloth in his right jacket pocket, which holds the icecube safely and absorbs any melting. He tells me he can easily walk around with that for 20-30 minutes.

Utilized this way, it J^s. an impromptu miracle.

As the spectator unfolds the card after you hand it to him (you act as if the trick is over), reach into your case and finger palm the ice card-cube in your right hand and bring out the wash cloth or napkin.

"I'll show you one more thing with the card you thought of." (You begin now to make the up-coming trick sound like a miracle.)

"Re-fold your card along its creased lines."

This assures that it will be re-folded face out. Take the card with your left fingers. At this point, borrow someone's drinking water, and with your right hand pour a little water over the folded card and into your cupped left hand. (This is done over the napkin or wash

Those who use either or both of Hike's routines have, I feel, received more than their year's subscription's worth.

Apocalypse Variations or Additions Repeat the deal of four 3-car<i packets and let the spectator choose one. Gather the other 3-card packets and also the three unchosen 6's, with the 6's going to the bottom. Apparently lose this 12-card packet by burying it into the center of the deck (which you have been holding in your left hand), but get a break ABOVE the inserted packet as you angle it in. Hold this break with your left fingertip as, with your right hand, you turn over the 3-card packet selected by the spectator. Arrange the three cards into a face-up row in the order of 10, 5. 3-

In subscriber Charles Hudson's own words: Albert Charra's "I'm Lucky" (June, 1979 issue) is an unpretentious but effectively straightforward little trick. It occurred to me that it might be a good idea to force the three counter cards on the spectator even as you force the 7-spot. So I came up with this Gilbreath addition and made some other minor alterations. The result, I think, is a little more mystifying (but at some loss of pace and simplicity!;.

The set-up on top of the deck is: 6, 6, 6, 6, 10, 5, 3, io, 5, 3, 3, 5, 10, 3, 5, 10.

Jog shuffle, maintaining the top stack. Deal out the four 6's in a row and let the spectator mark one with the coin. Deal out four packets of three cards each (three cards to a deal, without reversing the order of the cards.)

"These ought to be mixed up." Take the two center packets and put one each on the outer packets and then riffle shuffle the two 6-card packets together (or let your spectator do it).

Double (or triple) cut to the break, bringing the 12-card packet back to the top.

Deal ten cards one at a time face down on top of the face-up 10-spot. Triple cut a single card (a 6) from top to bottom and deal off a packet of five cards without reversing their order onto the face-up 5- (As you point out, Harry, the change in the way of dealing off is not only a haphazard throw-off, but is logical here in that dealing off ten cards, a one-at-

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a-time deal seems fitting, whereas with a smaller group, like five or three, it seems appropriate to take them off as a bunch.)

cards as a bunch on top of the face-up 3-spot.

Using Mr. Charra's patter, point out that 18 is divisible by 3 to get 6; turn over the 6 with the coin on it, and then reveal the three 6's at the top of the three face-down packets.

Finally, reverse double cut the bottom 6 to the top, and again deal off a group of three

Nick Pudar

Recalled card onto the left-hand packet. To the spectators, you've simply reverse-counted the kings into your left hand, to display them. The order of the cards in the packet, from face, is: two red kings, an indifferent card, two black kings.

There's some pretty handling in this fast routine of Nick's. Follow it with cards in hand.

Effect: Four kings are shown; the patter is that the two black kings represent big car companies, and that the red kings represent cars they've manufactured. The two red kings are placed on the table in plain view. The two black kings are held in the left hand. Upon turning over the two red kings together, only one king is seen - because the other has been "recalled" to the black kings. The two black kings are spread face up to show that there is a face-down red king between them!

Place your right thumb under the top faceup king, turn it over (face down) end for end, as you place it, apparently, to the bottom.

What you really do is place it face down second from bottom by buckling the bottom card. Then place your right thumb under the two, top, face cards and double turnover end for end (as one card) and, this time, really place it face down to the bottom. Your patter is explanatory; "I'll place the red kings on bottom, face down."

Performance: Openly remove the four kings and place them at the face of the deck - the blacks on the reds. Spread the kings to show them. As you square, get a break beneath the first indifferent card - the fifth card from the face. Take the five-card packet from above with your right hand. As you square the cards, obtain a right thumbtip break above the bottom indifferent card. Place the deck aside.

Hold the cards from above with your right hand. With your left fingers, pull out the three bottom cards as in (Fig. 2 ) . Two facedown cards will show beneath two face-up black kings. Point to the face-down cards and say that the red kings represent cars manufactured by big car companies. Push the two face-down cards flush with the face-up black king that is partially visible. (See Fig. 3.) Now only two black kings are visible. Hold the cards as is, and turn your hand, and the entire packet, over.

Now the two red kings will show. (See Fig. k.)

This is a very clean maneuver.

With the cards in Biddle grip, draw the two black kings into your left hand one at a time. Then, as you draw off the next (red) king with your left thumb, drop the indifferent card onto the black king, pulling out the center one of the three (red king) with your right hand. (See Fig. 1.) Finally, drop the last

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Afterthoughts: The snap-turn - lapping of the indifferent card - is interesting. Play with it. I know that many variations of it will surface. Obviously, you can use any move you like - and there are many - to get rid of that indifferent card. The routine is nice and clean.

Turn the cards down again and pull out the two face-down (bottom) cards. Place them on the table face down to your right. Square the two black kings and place them into your left hand. With your right hand, grip the two red kings, as in (Fig. 5)- Sweep them to the edge

of the table and snap-turn them. (See Fig. 6.)

During the snap-turn, allow the indifferent card to fall into your lap, and finish the motion by bringing the card to its original position, face up. (See Fig. 7.) Show that there is only one card. Spread the two black kings to show that one of the red kings was recalled.

Michael McGivern

(Ring) Knot Really

Mike insists that the knot he uses for this ring release must have been used before.

He's probably right, but he did come up with the knot-ring-release combination by himself.

All you need is a three-foot length of rope and a finger ring. The ends of the rope should be treated so that they don't fray and are easy to thread through a ring.

Move the part of the rope your right hand is holding, counter-clockwise, OVER and ONTO the left-hand portion, forming a loop. Your left thumbtip covers the "crossed-over" juncture, and the loop shouldn't be more than an inch and a half to two inches in length. (See Fig. 2.)

Thread your own (or a borrowed) ring onto the rope. Let it slide to center as you make sure that the ends are even. Then hold the rope on each side of, and about two inches from, the ring. (See Fig. 1.) Be sure your spectators are aware that the ring is ON the rope.

Slide your right hand to the right end of the rope and thread that end DOWNWARD into the loop. Your right first and second fingers clip the end as it enters the loop - and pull it all the way through. (Fig. 3 shows the end entering, and Fig. 4 shows it being pulled through.) Note the part of the rope that rests on your LEFT second fingertip. That's the portion of rope that will be caught in the loop to form the false knot. After a few tries, you'll find it easy to have that second finger in proper position automatically.

Now, the difficulty with any effect of this kind is to describe the knot. For this, it will help if you realize that the ring does not really move, or change position, during the forming of the knot. The knot is simply formed around the ring. The same knot can be formed without the ring on the rope.

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The point to "bear in mind is that the ring must stay to the right of the knot that's being formed. A slight downward tilt of the right end, as you form the knot, will automatically take care of it. This keeps the ring in proper position. If it does a half twist at this point, it will end up o_n the rope when you're doing the "penetration."

Your right hand pulls the end you just threaded through and to your right. Your attention is on that end. As it moves, your left hand does the "work." Your left second finger

When your right hand has stretched out its part of the rope, that end should be between your second and third fingers. At the same time, your left thumbtip maneuvers to rest on the edge of the ring; the opposite edge is against your left fingers - and the "knot."

(Fig. 6 shows both positions.)

The next step appears (or should) to the spectators only as if you're evening the two ends of the rope. Your right hand brings its end to your left hand. The right-hand end ENTERS the ring, and your right thumb and fingers continue pulling it to the left. (See Fig. 7 for your view. Your left fingers "shade' the fact that the end enters the ring.)

pushes SLIGHTLY upward, moving that rope portion upward just a bit into the loop that's being formed. As the rope stretches taut your left thumb moves onto the "ring-knot" area and aids in tightening that knot. (See Fig. 5.)

The loop that your left second finger pushes up is a bit exaggerated in the illustration.

If your left second finger pushes up its portion too much, there'll be a too-obvious loop. Your left fingers can pull on the rope portion they're holding - to the left - to pull that loop down a bit. After some practice that shouldn't be necessary.

Continue to move the right-hand end to the left until your right hand can grasp the left end. It now holds both ends. There are really no pauses during this sequence; it's one continual flow of action, and takes a second or

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Mike does the "release" in a three count.

He snaps the ends to the left twice, pulling on the length that doesn't form the inserted loop. On the third "snap" he pulls on the "loop" end - the ring "snaps" free. (See Fig. 9, which shows the snapping, or pulling, of the ends to the left, just prior to the release.)

so. (See Afterthoughts.) Your attention is on the left ends now - you're evening those ends. Continuing the sequence - when your right hand has both ends, your left hand releases ring and knot. (See Fig. 8.)

Another way to end is to tie the two ends into a square knot. Now do the release. The ring penetrates, and you're left holding a knotted loop of rope. Everything, of course, can be examined.

Afterthoughts: The effect is a "quickie."

It can stand alone, or be used as part of a routine. Go over it a few times. As with all effects of this type, it feels a bit awkward only until you become familiar with it. Then it feels, and looks, natural - and flows.

It 1 s good.

Your right hand releases one end (either one). The rope is being displayed hanging straight down - the knotted ring at center.

Your left hand brings the lower end up to your right hand and grasps both ends. Your right fingers move down to, and grasp, the ring, moving it up and to your right.

At the point where your right hand has to thread the right end through the ring (look at Figure 7 ) , Mike sometimes uses a short delayed action. Instead of going straight through with his right hand, he threads the end with his right hand, then grasps ring and knot with his right fingers. He continues pulling the end through with his left hand. It's a very short pause at the "switch." This also eliminates' the necessity of switching the ends from right to left hand after "evening" those ends. They are already in your left hand.

At this moment, you can do the penetration by snapping the TWO ends to the left (as your right fingers hold only the ring) - and applying pressure - really pulling on the rope portion that ends in the "inserted" loop in the knot ("X" in the next illustration). If, however, you pull on the other rope portion, the one that does not end in the inserted loop you can pull as hard and as often as you like, nothing will happen.

NEXT MONTH

Woody Landers - Out-Boxed Paul Smith - Chased Aces Knives-Knives-Knives - Gonzalez, Stone, Kaufman Harry Lorayne - Double Saltless Gerald Deutsch - Added Attraction Tom Mullica - Numbers Up Bill Voss - Casual Display

plus.

PUBLISHED, WRITTEN, EDITED:

Harry Lorayne

ILLUSTRATIONS:

'332'

JOE WIERZBICKI

Marv Long

Sticky Cards Replace the three, releasing them, and immediately press down on the seven- or eightcard packet. Press down hard - and raise the entire packet for a second!

Marv "got me" with the following routine: He asked me to shuffle my own deck and to place three cards in a vertical row on the table.

Then, to place a packet of about eight cards near the row of single cards.

He placed his open-flat palm-down right hand on one of the single cards. He said, "If I lifted one card like this..." He lifted his hand straight up and the card went up with it.

Then he moved hand and card back to the table.

He raised his hand, leaving the card on the table. "...You might think I'm using magnets, or glue, or wires, etc. But, if I did this, and this, and this - you'd know that couldn't be so."

The action matching the patter: He placed his hand back on the first card, raised it as before, then - he placed that card onto the second card and raised them both. Those two down on the third card and raised all three!

He replaced the three-card packet to the table, then placed his open hand onto the seven- or eight-card packet - and raised the entire packet!

I've been able to get that packet only once - up to this writing. I've raised the three cards, then I'd get about half the eightcard packet. Once, however, the entire packet came up. It's eerie.

That's exactly how it looked. The beauty of this is that there IS no gimmick (or sleight) involved. The problem is that not everyone will be able to do it.

Had he not told me what he was doing, I'd have remained fooled. I've been trying it sometimes it works, sometimes it doesn't. Marv does it all the time so far as I know.

This should NOT be tried on a slick tabletop. Before starting, lick the inside of your right fingers, approximately where they'll contact the cards. Then, dry them off (not too well) - rub the area on part of your clothing, or what have you.

The cards are placed so that the long sides are toward you. Now, all there is to it is this: Place your open-flat hand onto the single card nearest you. Your arm should be as straight as possible, and the card contacts your hand mostly at the inside of the fingers; only partly touching the palm. Press straight down, hard. Don't show any strain, of course.

Please don't write me nasty letters - I saw it done, and I did do it myself. As I said, some will get it right away - others may never get it.

Lift your hand, as is, straight up about two or so inches. The card should cling to your hand. (See Fig. 1.) Now, following the patter line, replace the card. Lift your hand only - just don't press. Then, do it again (following the patter). Raise the card, then come down with it directly onto the second card.

Immediately (don't pause) press down as explained, and raise them both! (See Fig. 2.)

Afterthoughts: Marv says that it won't work on a smooth tabletop. That creates the vacuum or air pressure, or whatever it is downward, keeping the card on the table. Use a close-up mat. He also suggests that if you are working on a mat, and a spectator wants to try it - let him try it on the table; it'll never work. And - if you want to try it on a smooth tabletop, spread a few grains of salt on the table (at that area) first (secretly, of course). Incidentally, Marv does it with a twelve-card packet. Have fun!

Don't ask me why this works - something about all the air being pressed out from between the cards and creating a slight (and short) vacuum. Don't pause - the cards will fall if you do - and come down directly onto the third card. Press, etc., and raise all three! (You'll surprise yourself!)

333'

William Goldman

Pennies From Heaven Now raise your left fist above the table, looking at it all the while, and allow the pennies to stream out of the little-finger side of your fist. If you've followed this up to this point, you'll see a lot of stunned spectators.

It NEVER fails. Even if you are performing for magicians, if you do this confidently and with CONVICTION, the sound will do the rest. Noth-

I'll let Bill tell it as he told it to me: This is a short, easy and simple effect but, as Harry Lorayne said of another short and simple effect in Apocalypse: "It's easy to underestimate the value of a move that's as short and sweet as this one. Don't."

This is not new - it's in Bobo ' s tome, listed as a vanish of several coins. In the following, it is used as a switch. While it won't be the highlight of anyone's close-up performance, it will stun a number of people in its directness, etc, etc. (I must be reading your magazine too much - I'm starting to write in your style! )

ing should tip off your audience . (Fig. 4. ) Added suggestions: This is best done standing or sitting at a LOW table as it allows your right arm to arc higher to create a louder, more effective sound.

Don't make a grand gesture of this, however.

This is a coin switch that talks - the louder the better! The whole thing is based on sound rather than dexterity, a definite appeal to arthritic magicians everywhere.

Place as many pennies as you can comfortably hold into your left cupped fingers (See Fig. 1.) Your left hand is held in a loose fist and rests at your side or on the table.

In your right hand, are four half dollars stacked. Direct attention to these half dollars. In doing so, jiggle your right hand causing them to slide toward your fingers in an overlapped condition. (See Fig. 2.)

It's a simple turning of your right hand. Also, you might want to switch four English pennies for a bunch of American dimes, as dimes are smaller and you can thus hold more of them.

If you don't want to carry around a bunch of pennies or dimes, a handful of change works almost as well. Not as effective, but certainly as deceptive - you can switch the half dollars for keys, rubber balls, jumping jacks, or any such thing that will fit in your hand. The cascade of many coins is very effective and should be tried before you resort to these other bits of nonsense.

Clean-up for the squeamish and unimaginative: After the switch, and prior to the release of the pennies, lap the halves as you're looking at your left fist, or - after you've released the pennies, add the halves to them as you pick them up and put them away, or - if you are standing, turn to the right after the switch and pocket the halves in your right pocket as the pennies are streaming from your left hand drawing attention, or - do as I do; forget about cleaning up and devote your attention to your presentation. If you do a good job, your audience will be so surprised and stunned that you can run outside and put the coins in the glove compartment of your car, run back and no one will be the wiser! Or, hold the coins and ditch them when no one is looking. What do you do until they're not looking?

The answer, of course, is Malini's - WAIT!!

Bring your right hand over in an arc toward your left hand which turns palm up as your right hand turns palm down. Your left fingers remain together and pointing upward, shielding the pennies. As your right hand turns palm downward, your right fingers bend and the half dollars automatically land on them in a stack.

(See Fig. 3.) Try this a few times and you'll see. Because they overlap, they not only stay together, but make a discernable clink as they stack up on your fingers. Immediately close your left fingers on the pennies and draw away your right hand. Do NOT close your right hand; leave it cupped and rest it on the table or at your side if you are standing. ALL your attention is directed to your left hand. This move must be done with conviction.

APOCALYPSE is published every month by Harry Lorayne, at: 6 2 Jane St., New York, N. Y. All checks are to be made payable to Harry Lorayne, and mailed to him at that address.

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Andre Robert

Tele 'Vision'

I started to use this terrific effect the moment I received, and read, it. I use a couple of my own presentation ideas, which I'll include in my Afterthoughts. The basic idea, as is, makes for a fine mental effect.

Turn the deck face down and riffle shuffle without disturbing the top stock (about twelve cards). I always end with a jog shuffle. During the shuffling, you're stressing how hopelessly his card is being lost; nobody, and that includes him, knows where it is.

Any deck is used. No set-up, no key card, no preparation is necessary. You don't even have to touch the deck at this point. Let your spectator shuffle and cut to his heart's content. Ask him to cut the deck (on the table) into three approximately equal packets. It's important that these be pretty well even, although one or two cards too heavy or too light won't matter. I usually have him move a card or two from one to the other of the packets, to even them up.

Now, do a wide, face-up, ribbon spread on the table. Say, "It's impossible for anyone to find your card. Certainly not from the full deck. But, let me try something. Would you remove five cards from anywhere, different parts of the deck - try to confuse me - but be sure that one of the five is your card. Don't give me any clues, just remove five cards."

I throw in the phrase, the deck," CASUALLY. And the one he removes from the deck! (The left end of the spread from left to right.)

"different parts of his card will be top portion of the spread, if you

Tell him to pick up any one of the three packets. You can turn your head aside now, or walk away from him, if you like. Tell him to shuffle that packet, and to stop shuffling any time he likes. He's to look at, and remember, the top card. Or, if you prefer, have him remove any card, remember it, and place it on top. Then, he's to give the packet one complete cut, burying his card to the approximate center of the packet. This, too, is important.

You want his card to end up somewhere near center - and it's usually automatic.

Note its position among the five (removed) cards in the spectator's hands. Take the cards from him, holding them face down. You can end any way you like. Andre suggests that you simply remove the card from among the five, and place it face down in front of the spectator.

Ask him to name his card. Then let him turn it face up.

Now, tell him to drop his packet onto either _ of the two tabled ones, and then the remaining one onto his packet. In other words, he sandwiches his packet between the other two.

I usually feel the cards one at a time, saying, "This doesn't feel like it," as I discard them, face down, one at a time - until I'm left with only his card. Then, I end as above.

For the first time, you take the deck, as you talk about his card being hopelessly lost.

Give the deck a false cut or two. Then, cut about two-thirds of the deck from the top with your right hand. Faro shuffle the smaller (one third) packet into the larger right-hand portion. The faro should start at the tops of both portions. Don't worry about in or out shuffles, and the cards needn't interlace perfectly.

If you throw in the phrase about different parts of the deck, as I've suggested, you'll rarely have a problem. If, however, your spectator should happen to remove two cards from the top area of the deck, it doesn't matter.

You can build to an even stronger climax.

Note the positions of the two cards (one is his card). When you take the five cards, mix them, getting the two vital ones to the top.

Glimpse the top one, and as you talk about the difficulty of what you're about to try, move your left hand (and the cards) to the table edge, and lap the glimpsed (top) card.

The point is that the bottom cards of the right-hand portion do not get shuffled. I keep the backs of the cards toward the audience as I cut and shuffle. It looks as if I'm shuffling one complete half into the other. (See Fig. 1) which is an exposed view. This is a convincer.

Take the now top card and hold it, face down, in your right hand. Ask for the name of his card. If he names a card other than the one you glimpsed (and lapped), turn up the card in your right hand - to end. If he names the glimpsed card, put the right-hand card back among the left-hand cards, saying that you'll try to cause his card (you're acting as if the one you held in your right hand is the named card) to vanish.

Make your magical gesture (or slam the packet onto the table) and turn the cards face up one by one - showing four cards. The selected card is gone. Produce the lapped card any way you like; or, if you've slammed the cards down, bring it out from beneath the table as if it penetrated the tabletop.

Square the deck and double cut (or just cut) anywhere from, say, ten to fourteen cards from bottom to top. Turn the deck face up and do a center Hindu Shuffle or two. That is, your right hand strips a block from center and Hindu Shuffles it onto the left-hand cards.

This leaves the top (really, rear) stock intact.

The only change I'd make in this handling is to remove the top card first, before I lap, with my right hand. As I lean forward, looking at that card, I'd lap the (now) top card.

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cards so only he can see them and to think of any card he sees. Rush him just a bit and, most often, he'll think of a card somewhere near center!

Now, you can let him square the cards and place the packet onto one of the tabled ones, etc. Or, take it a step farther, as I have.

After he's THOUGHT OF a card, tell him to give the packet one riffle shuffle (or you do it, if you'd rather). This brings the card to near top or bottom (Yes, there IS a slight element of chance with this presentation.) Now tell him to cut once, which brings his card back to center! Go on from there.

Present it any way you like - this is a "goodie."

Afterthoughts; Do the shuffling (faro, Hindu, etc.) casually and without hesitations, make sure you estimate your cuts properly, and this can be quite strong. You realize, of course, that the thought-of card is being brought to near bottom, kept there, and then cut to near top, and kept there. That's all.

But it's done beautifully. After the faro, I usually do one quick center Hindu Shuffle with the face-down deck; then I continue as described.

I've changed the selection method from "take out a card" to "think of a card" - and been almost 100% successful with it. When the spectator picks up one of the three packets, tell him to shuffle it, then to spread the

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

Ellipses (...)

A subscriber writes..."One of the unique things about Apocalypse (is that) unlike so many magazines who fear reader reaction of an adverse nature, Apocalypse includes effects using difficult sleights (as do your books). The mastery of sleights, and their use, imposes presentational disciplines which the learning of self-workers does not. Their mastery also permits ad libbing on a grand scale. I am thankful to you." Well put and, of course, I agree. I do, however, try to mix the different kinds of effects. I'll always include self-working effects - if they're good.

G. P. Putnam's Sons, publisher of my book, THE MAGIC BOOK, printed many thousands of copies.

Now, new management, etc...I was advised that the book would no longer be distributed (my contract didn't allow them to sell it to a paperback house without my okay. I didn't want that information selling for $1.50 or so). Was told that they had about 8000 books left, and that they'd sell them to "remainder" houses.

Same problem; I didn't want that book selling, for a couple of bucks. The only way I could stop it was to buy ALL the books myself. So, I did! I've already sold well over half of them to magic dealers and distributors. It is a "complete beginner's guide to anytime, anywhere, sleight-of-hand magic." And, includes effects that knowledgeable magicians just love. Anyway, it retails for $8.95. For that, plus $1.25 to cover postage and handling... total, $10.20...you can get your copy directly from me. When these are gone ... that's it. If I re-print at all, it will be in softback, at the same price. (Overseas: surface mail - $11.00; airmail - $14.50.)

Letter from a French magician: in June, '79, FRANK GARCIA sold, AS IF IT WERE HIS OWN, my Linking Card (QUANTUM LEAPS) at his lectures there. I am personally angry, but that's not why I'm making this public...1 want to point out the larger implications this kind of blatant plagiarism has for you, the magic fraternity. Why should you pay twice for the same thing! The writer may be mad at me & decide not to buy my books, because of Mr. Garcia's flagrant infringement. Garcia's not only put his hand into my. pocket, but into yours! The letter states, "I have the unpleasant feeling of having been imposed upon by Mr. Garcia."

(Taken advantage of; ripped off.) It IS the act of a downright, obvious, rip-off artist.

If such dishonesty makes your hair stand on end as it does mine, magic in general must be protected from it. But HOW? Any suggestions? I'll print any reasonable ones. ^^ End of November traveled to Manila, Philippines... it's a long, tiring, trip. Thirteen, or so, hours direct to Tokyo. Pan Am's first class seats (on the SP747) recline about ^5-55 degrees. It's comfortable, but I can't sleep on planes. Then, a five-hour wait in the Tokyo airport for my connecting flight. That stops in Okinawa, then on to Manila...about five hours all told. What with the time (and day) differences, it's mentally and physically fatiguing. Arrived Manila late at night; had a noon press conference the following day. It was difficult to get my head on straight! Worked out fine...did a group of 6-hour memory-training seminars. The people are lovely, and I was royally treated. Been told that I can become a national hero there. Great; except I found out that their last national hero was shot!

On to Tokyo... clean, exciting, city. Shigeo Takagi (and Mrs. Takagi) a fine host...also gave me a couple of fine items for Apocalypse. Ton Onosaka, owner of Magic Land, a nice person.

Mariko Yanagawa was a great help...she's lovely. Her husband, Dr. Yuki Yanagawa is busy. He worked pretty hard interpreting for me...not easy, I talk fast! He did an excellent job. The magicians at the lecture...I was told it was one of their largest turnouts...all terrific people.

I enjoyed doing the lecture, and enjoyed the entire trip. Quite an experience. Sayonara.

336 :

Lofayne's VOL 3 NO. 5

THREE DOLLARS

MAY, 1980

pocalypse ISSUE NO. 29

'â&#x20AC;˘ COPYRIGHT 1980 by H. Lorayne, Inc.

Just when \ou think every Okito Box move has been found, along comes a "goodie" like this. It can be used as an effect all by itself, but Woody uses it during a routine. The effect is that a (say) silver coin, placed into an Okito Box, changes to a copper coin. (Coins and right and left hands are interchangeable of course - use whichever you like. ) Place a half dollar into the box and cover it. Place this into your right jacket pocket. Place a copper coin (English penny) in the same pocket. When ready to perform (on a close-up pad, or any surface with a bit of "give"), reach into your pocket, classic palm the copper coin and come out with the Okito Box at your fingertips.

337

Shake it once or twice (See Fig. 1) so that the silver coin is heard inside. "There's something in here." Place the box onto the table. With your obviously empty left hand, grasp the bottom of the box, as your right fingers remove the lid. Lift the bottom off the table. (See Fig. 2.)

Note that your right thumbtip has to get out of the way to let the coin fall. This is almost automatic because that thumbtip moves to the inner side of the lid and presses down and toward you, tilting lid and hidden silver coin upward. The hidden copper coin automatically tilts up with the lid. (See Fig. 5.)

All in the same continuous movement, the mouth-down box goes onto the lid. (See Fig. 6.)

Your thumb pulls the coin back into finger palm (See Fig. 7) as your hand turns - back of hand downward - and shakes the box. (See Fig. 8.)

AS your left hand dumps out the silver coin ("It's a half dollar") your right hand allows the copper coin to fall onto the table.

It's AS the silver coin hits the table that your right hand moves slightly to your right, gently placing the lid ONTO the copper coin.

(See Fig. 3.) The timing must be such that the sound of the silver coin hitting the tabletop covers any sound made by the lid covering the copper coin. They happen at the SAME time.

Drop the box onto the table - careful not to expose the finger-palmed coin - and the move is done. End however you like. You can lap the finger-palmed, silver, coin - or keep it palmed, according to whether you're ending here or continuing with a routine. In any case, the coins have been indetectably switched.

8 Meanwhile, your left hand places the bottom of the Okito Box (opening upward) onto the table - in front of the lid; that is, between the lid and your spectator. With your obviously empty RIGHT hand, pick up the silver coin and dump it back into the box. (Or, let your spectator do it.)

Afterthoughts: Obviously, I had to break this into separate steps for you. In performance, once your hand, and the box, move to the lid, it's a split-second continuous and fluid action - to the end.

Now, pick up the box with your right hand, from above. The next instant action appears simply as if you're replacing the lid with the one hand. But - you'll switch the coins during the action. Move, backward, to the lid. Start tilting the box over toward you - allowing the silver coin to fall ONTO the lid. (See Fig. k.)

Follow the actions exactly; Woody has put them together efficiently - and BOTH hands are seen to be empty before the switch is done.

It's a beauty - give it the practice it requires.

338

Paul L. Smith

Chased Aces Second vanish: Pick up the AH packet, square it and turn it face down in preparation for the Stanley Collins glide-false count.

Slide out the bottom card, show it, and deal it face up to the right of the AC packet. Repeat with the new bottom card. Now glide back the next bottom card and remove the top two as one (See Fig. 2 ) , turn it (them) over (as one) and deal face up onto the two cards previouslydealt. Take the last card (supposedly the AH) face down, give it a magical "snap," turn it face up to show it is not an ace - the AH has vanished!

As Paul says, he claims only the routining - the moves are all fairly standard. The routine is easy to do. Let Paul tell it to youi Perhaps the following may qualify for Apocalypse and be a small repayment for the many great routines I have taken from its pages.

The only originality to be claimed is for the routine itself. It's a four-ace effect that combines vanishes a la Stanley Collins with discoveries somewhat like Henry Christ's - but there are twists and variations that make it not exactly like anything I have seen or read before. Hence, it may have some element of originality. I call it the Chased Aces, which is an aid to remembering the order of the aces in the original layout: clubs, hearts, spades, diamonds.

Effect: Each ace is covered with three indifferent cards. The aces vanish from each packet as the packet is counted to show four indifferent cards. The packets are re-assembled with the remainder of the deck. The cards are spread face down revealing the AD face up.

Next the spade and club aces are revealed by spelling their names. A spectator finds the last ace, the AH, by turning over a card which provides the clue to the last ace's location.

All of this with a minimum of "moves," or complications, and no special cards or gimmicks.

Third vanish: This is a repeat of the previous vanish. As the cards are shown they are dealt face up onto the previously shown packet (the AH packet).

Fourth vanish: For the last vanish, a variation of the buckle count, which looks a bit like the Collins count, is used. Pick up the packet, square it, and turn it face down in your left hand. Thumb off the top card, the AD. Take it in your right hand, face up, showing it to the audience. Get a left little finger break under the top card of the remaining cards in your left hand. Return the ace face down onto the packet. Grip the packet from above with your right hand, fingers on the outer end, thumb on the inner. Your left hand peels off the three cards below the break, turns them face up and places them on top of the face-down card(s). The cards are squared in your left hand and buckle counted, 5-as-4, without reversing their order. The first three cards are face up. The AD is hidden beneath the third face-up card. The last card is left face down in your left hand. The audience thinks this is the ace. Holding it face down, rub its face on the table. Turn it over slowly to reveal the final ace has vanished! Drop this card face up on top of the counted three (really 4) cards in your right hand.

Now pick up the left-hand (AC) pile and drop it face up onto the double-size pile to its right. Then pick up the resultant packet and drop it face up on the packet in your right hand. Put all these cards face up on the faceup deck which should have been placed face up and to the right of the aces at the completion of the original layout.

Routine: As you run through the face-up cards searching for the aces place them in club, heart, spade, diamond order on the table (left to right) and cut any 9-spot to the face of the deck. Count k—as-3 cards, without reversing their order, from the face of the deck and place this packet on the AC, overlapping or covering about half the face of the ace. (See Note.) The 9-spot should be the face card of this packet. Repeat with each of the other three aces. There are now four aces face up, half covered by packets of three (really 4) cards, also face up. (See Fig. 1.)

A

2 ® 4

First vanish: Pick up the AC packet.

Transfer the 9-spot to the rear, behind the ace, after squaring the packet. Now do a 5-ask buckle count to show four indifferent cards and no AC. This is a simple and unpretentious vanish - and sets the stage for more "showy" vanishes. It is quick and startling. The audience reaction is "where did it go?" You apparently anticipate this and say, "I'll do it more slowly this time." Return the AC packet to the table, face up. The false count has not reversed the order of the cards. They are, from the face - x, x, x, AC, 9-spot.

The aces return: The deck is turned face down and may now be false shuffled and cut as desired. Finally, cut about 15 to 20 cards to the bottom. With a flourish, spread the cards face down across the table. The AD will show reversed at about center. Cut the deck at the ace. Remove it and put it face up to one side. False cut.

•339

ninth card, and it is the AH! I try to look relieved, gather the cards, and say something like - "That's called winning the game in the ninth inning!"

Now spell a-c-e-o-f-s-p-a-d-e-s, dealing one card at a time face down in a packet. Turn over the next card (after the final "s") - it is the AS. Put the dealt cards back on top of the deck, and false cut.

Note: At the start, I patter about the popularity of the "four ace trick," how old it is, and how many hundreds (thousands?) of variations exist. This serves to cover the time required to find the aces, cut the 9-spot to the face, and count the cards onto each ace.

The next ace is the AC. It can be spelled only after cutting four cards to the bottom.

This can be done as part of the false cuts.

Another approach to avoid excessive cutting or giving any impression of cards being counted is to false cut and then spell a-c-e. Start to deal the next card but replace it, getting a break, and turn to a male spectator, and ask, "What shall be the next ace?" I have yet to have a male say anything but "clubs" (a female will almost always say "hearts"). Put the three dealt cards on top of the deck, undercut to your break, as you say, "That will take one more cut." You are now set to spell the AC.

In counting ^ cards as 3 for the packets, I double lift for the first card and count the 2nd and 3rd beneath, but overlapping lengthwise.

The group of 3 (really k) is transferred to the hand holding the deck and held by the long sides between thumb and second finger. The right hand then arches over the cards, with its thumb at inner end and fingers at outer end, squares the cards, picks them off as a group, and places them squared, face up, overlapping the face-up ace. During the foregoing count the deck has been held with its face roughly parallel to the tabletop. For the next count of three, single lift the first, second, and third but during the count rotate the deck and cards so the faces are toward you and backs are toward the spectators.

Spell and turn over the next card to show the club ace. Put it face up with the other two face-up aces. Put the dealt packet back on top of the deck and false cut (or shuffle) again. Hand the deck to a female spectator, saying, "I'll bet your favorite suit is hearts.

Good. For the grand finale, you will find the last ace, the ace of hearts. Place your right forefinger on the top of the deck and that will be the key to success. Deal the top card face up on the table." When she does, the card proves to be the 9-spot.

After counting the 3rd card, get a break under the next card. Bring the three overlapping cards back to the deck - just as before - to square them. As you do, rotate the deck back to its original position, face parallel to the table so that the faces are visible, and with the right thumb pick up the card above the break, adding it to the three being squared. This count and addition is repeated for the remaining packets.

Appear undaunted, as you say, "I didn't say it would be the ace. I said it would be the key to success. How many spots does it have? Nine? Good; the ninth card will be the ace of hearts." She deals, turns over the

Harry Lorayne

DOUBLE

SALTLESS

Saltless, which I included in my first card book, CLOSE-UP CARD HAGIC, has always been one of my favorite effects. This is so for two reasons; the response it always receives, and the fact that I like to perform it. It's also completely impromptu; it can be done with any deck, at any time, and under any circumstances.

Shuffle all the right-hand cards onto the left-hand portion, and onto the selection, of course. Square the deck and unobtrusively turn it end for end; that is, the crimped end is

What I've never before put into print is my method for doing it with two selections.

Hindu Shuffle, asking the first spectator to stop you. Time it so that there's a small packet in your left hand; no more than a quarter of the deck. Let him look at, remember, and replace, the top card of this small, lefthand, portion. As you make a remark directly to the spectator ("Please remember your card"), bend the inner corners of the left-hand portion upward. This is simply one squeeze of your left hand. (See Fig. 1.)

outward. Turn to the second spectator and, keeping the outer end pointed slightly downward (to hide the crimp), ask him to stop you as you Hindu Shuffle.

340

According to the height of your toss (anywhere from five to eight inches is good), one of two things will happen. Either there will be an obvious break, or step, at two areas of the deck (See Fig. 4 ) , or there will be an obvious step at only one area.

Time it, again, so that you're stopped when about a quarter (to a third) of the deck is in your left hand. Let him look at the top card of the left-hand portion. As he does, with your right fingers, crimp the inner corners of the RIGHT-HAND portion DOWNWARD. (See Fig. 2.)

Work accordingly. If there are two steps, ask for the names of both cards, remove the cards at the steps and display them. If there is only one step, remove that card and show it.

Square the deck and do the toss again in exactly the same way. The deck will break at the second selected card.

Afterthoughts: With a bit of practice on the toss and catch, you'll always get two steps on the first toss. Although it doesn't matter at all. It's just as strong, if not stronger, to do the second toss for the second selection.

You can do another face-up ribbon spread before the second toss, if you like. Also, if there's only one step after the first toss you may want to, after removing the selected card, give the proper portion of the deck an opposite-to-crimp bend, removing that crimp. This is all right, since the other crimp is at the opposite end of the deck.

Let him replace his card, and place (do not shuffle) the right-hand portion onto the left-hand portion. Do a fast, face-up, ribbon spread on the table - to prove that you have no way of controlling anything.

Gather the cards, square, and place the deck, face up and crossways, onto your palm-up right fingers. (See Fig. 3.) Now, end as I explained in CLCSE-UP CARD MAGIC. Briefly; gently toss the deck up and, ever so slightly, toward you. It goes up, over (face down) and lands back on your right hand. Just let it land, don't square it, don't close your hand.

Your hand has to "give" a little as the deck lands - otherwise, cards will bounce off your palm.

The reason for timing your shuffling so that there's about a quarter of the deck in your left hand each time, is to keep the selections evenly spread through the deck. A bit of experimenting will show you what's best for you. Give the deck a couple of opposite-tocrimp bends after the locations, and you're clean.

HEX? MONTH Larry Jennings .... The General Card Jonathan Townsend .... Thanks To Ramsey Herb Zarrow ...Âť Swivel Round-A-Bout Tom Craven .... Propel-A-Goin Steven Minch .... Falling Leaves David Harris .... French Drop Cop Lance Rogers .... Snap-In Revelation plus.

PUBLISHED, WRITTEN, EDITED:

Harry Lorayne 341

ILLUSTRATIONS:

JOE WIERZBICKI

Gonzalez-Kaufman-Stone

Knives-Knives-Knives

I think that each of these three handlings for the color-changing knives should be recorded. The first two are only short moves to include in a routine; Sol Stone's handling can be an effect by itself.

Open the blade all the way and hold the knife in your right hand, as in (Fig. 3 ) . Note that the second and third fingers are bent inward, and that the thumbtip is right at the spot where the blade joins the handle. This is to create the illusion that you're holding the knife by the blade only.

MARIO GONZALEZ'S KNIFE CATCH: This is one quick, disarming, action that you can include in any color-changing knife routine. It appears as if you're showing both sides of the knife, but the spectator sees the same side.

Hold the knife on your right four fingers, near the fingertips; your thumbtip holds it in place. The four fingers should be as open as possible, and your palm is toward the spectator.

(See Fig. 1.)

The dull edge of the blade should be facing inward if you do the paddle move by pushing outward with your thumbtip, then pulling inward on the "return" turn. If you do it the opposite way, the dull edge should be facing outward.

Simply do the standard paddle move as you ostensibly show both sides of the knife by turning your hand down and up, etc. It's disarming because it doesn't seem possible to do any hanky panky when holding the knife this way.

The action, now, is a "catch" of the knife as your hand moves - in one short, smart, motion - away from you. Your thumbtip relaxes, and releases the knife. It is caught in the fork of your thumb. The knife travels only an inch or two. (See Fig. 2.)

With some practice, and care, you can do the move with your thumb lowered and really on the blade. Be careful, or you'll get the color change - to RED - before you want it!

SOL STONE'S KNIFE INTERLUDE: This, too, can be used during a color-changing knife routine. I want to include two of Sol's handlings here; both lead into the same color-changing action.

This first one is a casual showing of what appears to be both sides of the knife. The standard paddle move is done, alternately, with each hand - as the knife is placed from one hand to the other, and back again.

That's all; and I know it doesn't read like much - but the illusion of the knife turning is perfect. As a matter of fact, it will take a few tries before you can do it WITHOUT turning the knife.

Actually, the knife really remains stationary, suspended in air for that split second.

It's your hand that moves. When this starts working smoothly you can, if you like, do the "catch" causing the knife to turn (for the color change) by slightly bending your fingers AS you perform the catch.

Hold the knife on your right fingers; right thumbtip on top, between the center and an end of the knife. Turn over hand and knife (doing the paddle move) as you move the knife slightly downward and place it onto your left fingersâ&#x20AC;˘ Your left thumbtip holds it in place. (See Fig. 4.)

RICHARD KAUFMAN'S SHARP TURN: Also a quick, disarming, action that can be included in any color-changing knife routine. It's the standard paddle move to show both sides(?) of the knife. The difference is that it's done with the blade in open position. â&#x20AC;˘342-

Re-grasp the knife with your left thumb and second finger, at its ends. Open your right hand somewhat and move it downward, sliding down on the knife, exposing the different color. (See Fig. ?.)

You're in perfect position to repeat the move, placing the knife back onto your right fingers. Do this, back and forth, a few times.

Remember; it's a "soft," natural, and casual, action. Your hands remain in motion, turning down, up, etc. Your thumb is near an end of the knife (not AT an end) each time you do the turn. After doing it a few times, you'd go into the color change, as I'll explain after I describe the second "paddle" action.

For this one, hold the knife at its ends, between your left thumb and second (or first) fingertips. Take it (as for the first handling) with your right hand, thumbtip on top, fingers underneath (See Fig. 5) and turn it over, toward you - doing the paddle move.

Pause; then turn your right hand to grasp the knife from underneath - for the paddle-move handling - and do the turn (replacing to between left thumb and second finger) to show that both(?) sides are now the new color.

That's it. You might try it in a fouror five-step action. Do the turn twice, then the color change, then another one or two turns.

It is turned and replaced to between your left thumb and second finger. Repeat as often as desired. Again, this is a soft, casual, action.

It's pretty.

Afterthoughts: Either of Sol's "turn" handlings can be used as a preface to the color change. In his hands, they're magical indeed.

When you're ready to do the color change, place the knife onto your open, palm up, right hand. Place it right at the finger/palm juncture. (See Fig. 6.) Release with your left fingers, and close and turn your right hand toward you. It's back is to the audience.

Gerald Deutsch

Added

Mario's "catch" will take only a few tries, and Richard's "turn" will work almost automatically.

Attraction Now, show the packet as a royal flush in spades, like this: Deal the top card (KS) into your right hand and hold it face toward your spectator. Name each card as you display it.

(See Fig. 1 for spectator's view.)

Jerry tells me that the inspiration for this is Vernon's Royal Monte. The effect is excellent and, as an added attraction, although you're seated at a table and there's lapping (just once) involved - you can stand up the moment the effect is over! You're clean.

Deal the next card (QS) to beneath the KS, in fanned condition. Then deal the next card (JS). On the next (^th) card do a bottom card buckle and take all but the bottom card (AS) to beneath the small right-hand fan. Or use a one-hand block push-off, whichever you prefer. The buckle (buckle-count) action is easier here. You've taken a block of four cards, as one, as you say, "The ten of spades."

As you say, "And the ace of spades," snap the AS with your left fingers to prove it's a single card, and place it to the bottom of the right-hand fan. (See Fig. 2.)

Set-Up: Cull out the 10S to AS (royal flush) and the other three 10-spots. From face to rear of the packet, set them like this: AS, 10S, the other three tens, JS, QS, KS. This packet is on top or bottom (or anywhere) of the deck, so that you can remove it easily.

Performance: You're seated at a table opposite your spectator(s). Cull out the 8card packet and hold it face down, in dealing position, in your left hand. The deck proper is placed face down in front of you - an end toward you.

= 343-

Then, move the cards around a bit in monte fashion, saying, "If I mix these a bit, do you think you can find one of the picture cards?

Any picture card?

As you square the fan get a momentary left little finger break beneath the top three cards - the JS, QS, and KS. This is almost automatic. As your right hand reaches for a

Let your spectator indicate any face-down card. Then, tell him to take the saltshaker or whatever you moved closer before - and to place that onto his selection. As soon as he does, drop your hands into your lap, re-palming the three lapped cards in your right hand. At the same time, say, "Would you like to change your mind?"

His moving the item onto the card and your question makes the sitting back for a moment and dropping your hand (or hands) onto your lap - a natural action.

saltshaker, ashtray, anything - and moves area, your left hand and allows the cards into your lap. (See

When he says "no" (if he wants to change his mind, let him) move forward as your right hand moves up out of your lap and pushes the deck proper out of your way - replacing the palmed cards at the same time! (See Fig. 4-.)

Your attention is on the row of cards as you do this; it's a completely natural and imperceptible thing. It's Slydini's Replacement Action which is an excellent idea (as most of Slydini's ideas are). Remember; it's almost an unconscious gesture - all your attention is on the row of cards, not the deck.

coin, pack of cigarettes it closer to the working moves to the table edge above the break to fall Fig. 3-)

(In action, the deck would be at about center of the horizontal row of five cards. It is moved to your right as you add the palmed cards.)

Now, in a fairly rapid movement, remove the saltshaker (or whatever) and turn all four cards face up. They're all 10's, of course!

At this point, for the "knowledgeable" ones you can stand up! Those looking for cards on your lap will have something to think about.

Afterthoughts: I've included little patter. Fill in your own. You might start by saying that most cardmen use three cards for monte - your odds are even better, as he'll see. At the end, when you turn over the 10's, you might say something like, "Well, I'll just have to play four of a kind instead of the royal flush." Up to you.

This is done as part of your movement in turning the packet face up. That is - you lap, and in a continuing motion turn the packet face up with your left hand. Deal the AS (face card) onto the table. This flashes the 10S, which is fine. Turn the packet face down, and deal the four cards face down in a row to the right of the face-up AS. As you deal them you might say, "The king of spades, the queen of spades," etc.

Go over the routine, the sequence; try it.

It's well put together. â&#x20AC;˘344"

Tbm Mullica

Numbers Up As the top (selected) card moves, push upward with your forefinger tilting the separated, counted, packet upward at its left long side.

This causes the moved, top card's right long side to move upward - up on its left long side.

(See Fig. 3.)

Tom does his magic behind a bar (Tom Foolery ' s Magic Bar, in Atlanta, Georgia). He performed this routine for me with lots of people around a table, some wandering in and out.

It's a fooler, and perfect for a bar or similar circumstances.

It's the kind of thing where you have to "wing it" a bit, and I doubt if it can possibly read as well as it performs - at least, when Tom does it.

It's based on the thumbcount (which is not as difficult as some think it is) and one other move that secretly reverses the top card to a specific position from the top. This is a move that can be used for other routines.

It's actually a 5-step routine. So, in steps:

From here, a light push with your left thumb causes the selected card to swivel, face

Step #1: Control a selected card to the top. Drop your left hand, and the deck, to natural "hanging" position; the deck is out of sight. This should be a natural action, as you ask the spectator to give you any number between 1 and 20.

up, into the separation. (See Fig. 4 for an exposed view of the move just before completion. ) Close your fingers, squaring the deck.

As you talk, prepare (thumbcount) seven cards. As soon as you hear the number (let's assume it's 14), thumbcount to that number (the preparation makes it quicker). This, of course, is done as you talk - "Is there any particular reason why you chose that number?" etc. Of course, if the number is less than 7, you'd have to retrieve cards, or - square and rethumbcount. But that's unlikely at this point and, if you like, you can ask for a higher number if it does happen.

I've broken the move into steps; in action it's one fluid, fast, maneuver. Give it some practice. Tom tells me that he usually thumbcounts in "threes." Also, that he sometimes uses the side of his left leg for leverage as he does the move. I don't think you should depend on that, however.

Bring up the deck and hand it to the spectator. Have him name his card and then count to his number. His card is reversed at position.

Now; I like the move, but I also like the entertainment value of what follows - but it's difficult to explain. Continuing Tom's presentation: Step #2: He says, "It's funny, but whenever you ask someone to name a number between one and twenty, it's always fourteen (the number the spectator named). That's right - he always says 'fourteen' the first time."

All right; you've thumbcounted 14 cards.

Keeping your thumbtip in position, your left forefingertip moves to the outer end and pushes the top batch of cards - of the lower un-thumbcounted, larger, portion - cleanly inward. As you push with your forefinger, your thumb moves away and onto the top of the deck. (See Fig. 1.)

At a busy bar, Tom keeps talking until a new person walks in - and, if nobody does, he shouts to someone at a table or at the other end of the bar. He says, "I'll prove it to you;" and he says to the new person, "We're just trying an experiment; would you give me a number between one and twenty?"

Your left third and fourth fingers remain closed on the top of the deck and your forefingertip remains at its position as your thumb starts pulling the top card (from under these fingers) to the left. (See Fig. 2.) â&#x20AC;˘345

Meanwhile he's kept the original selected card on top, and he prepares, thumbcounts, ? cards again. If the person says, "Fourteen," you'll get a scream! And - you can have the original spectator count to that number, and find his card again. (You've repeated the move, of course.)

left thumbtip. As you turn to your right (again, Tom is behind a bar; he turns his entire body), saying something to someone there, your left hand drops the top, counted, packet onto the table at your left. Simply toss it off the top as you turn; face up or face down.

If the number given is, say, 12 - Tom sets the card to that position. He hands the deck to the spectator and asks him to count 12 cards. There's the selected card again. And Tom says, with a straight face, "I TOLD you everybody says twelve!" This, too, gets a laugh.

Continue talking to the person to your right, then - turn to the spectator who just gave you the number, point to the dropped packet, and tell him to count those cards. The number matches, of course. (Simply ignore the 9-card packet; drop it onto the deck. If step #4 ended cleanly, go directly into step #5.)

Step #3: Have another card selected; control it to the top. As you ask another person to give you a different number, prepare 7 cards.

Thumbcount to the number, then scale the top card so that it boomerangs back to you (standard "toss"). With your right hand, lift the thumbcounted packet and catch the tossed card at position. Square and hand the deck to the spectator to count, etc. His card is at position - not reversed this time.

I have to tell you that when Tom did this for me, nobody noticed him dropping the packets. There's such excitement going on, and the misdirection is so strong, that the packet seems to appear magically.

As your spectator is counting, prepare for another number. Even before he's finished, ask someone else on your left for another number.

Thumbcount to that number as soon as you hear it. As you turn back to the spectator who just finished counting, drop this packet!

Step #4: Shuffle. Talk and prepare NINE cards. Cut off this packet of 9 cards with your right hand. Hold it face toward you, as you ask a third spectator for a number. (See Fig. 5-) AS you do this, prepare ? cards with your left hand (this is to lead into step # 5 ) .

Pick up the counted packet, placing it back on the deck as you point to the dropped packet asking someone to count it. Tom did this three or four times. He points to the dropped packets off-handedly - as if everyone should know they're there. This is the part you have to play by ear. Stop at the proper time with an appropriate ending remark, like "It's amazing, you always know the number I'm thinking of!"

Afterthoughts; I thought twice before including this routine. My feeling is that you'd have to see Tom do it in order to appreciate it. But, I think it should be recorded.

Step #5 is done with rapidity and it creates an excitement. If you like, of course, you can end after step #h. In that case, if a number higher than 9 is named, simply thumbcount enough to add to 9 to reach the number.

Drop that packet on the table as in step #5, as you hand the 9-card packet to the spectator on your right - then say, "And count this one, too;" the two packets total his number.

If you're working under conditions that preclude asking a "new" person for a number (step #2), you can ask for a different number.

Then, when the card is found at that position, say, "I asked you for a different number!"

Now, you have to play it by ear, according to the number named. If he names the number that matches the face card that's staring you in the face, slowly turn your hand, and the packet, so all can see it. It's a minor miracle .

If he names #9, immediately hand him the packet for counting - also a minor miracle.

If he names a number lower than 9, release your thumbcounted cards, table the deck, and count the 9 cards as, say, 6 cards, via a buckle count. (If this is the case, place the counted cards onto the deck and, again, prepare some cards for the next step.) If he names a number higher than 9, go into

If you can't do the card-scaling thing, you ought to learn it - it's not that difficult. If you don't want to learn it, you'll have to substitute something for it.

Obviously, you have to be able to thumbcount cleanly, accurately, and fairly rapidly.

And, practice the one-hand-reversal-to-position move; it's a handy sleight to know.

Step #5: As in step #4, no selected card is used. As soon as the (higher-than-9) number is named, thumbcount to that number with your

Remember - if you Xerox this magazine, you lessen its worth to YOU! '346!

Bill Voss

Casual Display

Bill's Relentless (Apocalypse, August, 1979) received quite a response. It's a terrific coin routine. This is not a routine; it's a simple and easy way of showing your right hand empty when you've supposedly placed a coin into your left hand, but really retained it in your right.

If it's in classic palm: Your right hand moves toward your left fist. As it does, relax your right hand, allowing the coin to fall onto your second and third fingertips. (See Fig. 1.) Immediately open these fingers so that they go under your left fist in an indicatory gesture. The coin is hidden beneath your left fist. (See Fig. 2.)

Bill uses it during an Okito Box routine.

After the right hand is seen to be empty (therefore the coin must be in the left hand) he reaches for the box with his right hand the coin, of course, is palmed therein.

2 That's all; pause in this position for a beat or two, as you make a remark about the coin in your left fist. Then, your right hand moves toward the Okito Box, or whatever, repalming the coin as it moves.

Pretend to place the coin into your left hand but really retain it in your right. Your left hand closes over the coin(?) and immediately turns fingers up.

You don't have to place the coin into classic palm first,if you don't want to. Simply pretend to place it into your left hand, and immediately open your right fingers - coin on second and third fingertips - placing those fingertips to beneath your left fist. You're in the position depicted in Figure 2. Be careful not to flash the coin, of course.

That's fairly easy to do.

You have a choice here; either the coin goes into right-hand classic-palm position, or it remains resting on the tips of your right second and third fingers.

Afterthoughts: As I said, no routine here. Just a simple empty-hand display. But it can come in quite handy during a coin routine .

Apocalypse Variations or Additions *** Bonnie Hammond thinks Bill Voss' Relentless is great. Does the routine exactly as described (Apocalypse; August, 1979) but after the final display, when four coppers are at one side and four silvers on the other, Bonnie picks up all the coppers with the right hand, making sure that the gimmick is on bottom of the stack. Now, drop all four coppers onto a spectator's hand - for examination - doing a modified Voss Toss. Easy enough to ditch the gimmick after the silver coins have also been handed out for examination.

*** Orville Meyer has been using J. K. Hartman's Goody Two Choose since it originally appeared in the very first issue of Apocalypse.

(January, 1978.) His ending is this: He gets the selections to the top (or bottom) of the deck as he's locating and removing the MATES of the two selections. These mates are placed face down onto the table. The spectators turn them over and, of course, deny that they are the correct cards.

The climax comes as you say, "Well, you'll admit that they're pretty close. And they'll have to do, since the two cards you fellows chose aren't in the deck at all."

*** Dennis Marks just LOVES Tom Mullica's It's Match-Ic (Apocalypse; July, 1979). He uses it quite often, but he tells me he doesn't bother with the switch I described there. When he's ready to end, he steals a whole match and simply holds it in his right hand. Then, he places all three match pieces between the fingers of his right fist, as described. That's it. To end, he throws out the whole match, opening the hand - palm up. The three pieces remain back clipped. He either laps or drops the pieces as attention is on the "restored" match.

As the spectators were turning over the mates, you had ample opportunity to palm off the selections and get them into your pocket, wallet, or whatever. At the end of the above patter line, produce the two actual selections.

It's a good ending, and also fits for Tom Craven's Goody Goody (his takeoff on Goody Two Choose - Apocalypse; October, 1979).

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*** Michael Gerhardt of Germany loved Scott Weiser's Half Shot and Under Glass Change (November, 1979 issue). He sent me a slight variation on Under Glass Change - which can be done virtually surrounded. Check the November, '79 issue, then try this: An English penny is classic palmed in your right hand; a half dollar is under the mouth-down shot glass, on the table. Do just as in the original up to the point where you "kick" the half dollar into your lap. Now, Michael's suggestion is to do it this way: Move your right hand to the

glass. Let the palmed coin fall to the table between the glass and the half dollar. The penny is closer to the silver coin than to the glass - and for that split second, both coins are out of sight. The fleshy part (thumb base) of your right hand rests on the half dollar. Immediately move the glass back (to the right) onto the penny, and rattle. The half dollar moves along under your hand and is moved to the table edge - as; you rattle and display the change. You can lap it on the off-beat. Try it; it's pretty.

Ellipses (...)

As usual, it's impossible to research everything. In QUANTUM LEAPS, I used a move wherein two cards (as one) are inserted into the deck in order to force one of those two cards. (The effect is Lorayces, page 62, where I used it in an entirely different way.) I credited the move to Tim Wenk. Joseph Cottone, however, had the move in Jean Hugard's MORE CARD MANIPULATIONS, No. 4 - in 1941, titled Auto-Location. So, the move is Joseph Cottone's. (It's the same whether the double card is inserted at the side, end, or rear of the deck.)

Mario's Magazine, Vol. 3 - worth the $30.00 price. I'm not inferring that Vols. 1 and 2 aren't also worth the asking price...it's just that I haven't seen those. I do have Vol. 3 (Copy #4). Interesting section on doing a natural-looking double turnover from a 4-card packet; no breaks. Check this against my method in QUANTUM LEAPS. Mark Wilson and Earl Nelson did a nice job on VARIATIONS. El Duco, of El Duco's Magic, in Malmo, Sweden is a legitimate, and honest, magic dealer. I mention this because in the Nov., 1979 issue of Apocalypse I said that I'd been shafted only once...by a dealer in Malmo, Sweden. Since I hadn't mentioned a name, some may have thought I was referring to him. I was not. If I haven't mentioned it before, and even if I have, the "dealer" I was referring to is "Jolly" Ericson of Malmo, Sweden. Still hasn't paid a bill of mine dating back to 197^. (Statements and dunning letters simply receive no response...I understand that Tannens is another "shaftee.") If I could go through life not paying my bills, I'd be "Jolly" too!

Re : my paragraph in the last issue concerning the fact that Frank Garcia sold mv_ Linking Card routine (out of QUANTUM LEAPS) at his lectures AS IF IT WAS HIS IDEA and HIS routine...most of the people I know in magic, whom I spoke to about it, gave the same response. Most of them said, "So what else is new?" or "What did you expect?" or "Does that really surprise you?" Seems they know Mr. Garcia. A few others asked two basic questions. One was, "Are you sure he knows that it's your routine, your idea?" My answer; Of course he does. I showed (taught) it to him personally. That was back in April-May of 1978. In any case, what difference does it make? He certainly knows that it isn't his! ... not his to take credit for and not his to sell.

The second question: "Are you sure he knew that the routine was scheduled for QUANTUM LEAPS?" Answer: Of course he did. I made that quite clear to him. And, he sold the thing, according to the letters I've received, in June of 1979 - that's a month after QUANTUM LEAPS appeared on the market, and - 3 or 4 months after I advertised it, mentioning the Linking Card routine. Again, what difference does that make, anyway? The routine is mine, and Mr. Garcia knows, and knew, that it's mine.

I repeat what I said last month...if you have any suggestions on how to stop this kind of flagrant dishonesty, this blatant plagiarism, for the benefit of the magic fraternity in general, send them in. I'll print all reasonable ones.

Oh, incidentally, I've been told by a few people who attended Mr. Garcia1s lectures (here in the U. S.) that he performed a few of my routines, out of QUANTUM LEAPS, taught them, then said something like - "Now that I've shown you these routines, you don't have to buy Harry Lorayne's book"! With "friends" like that Interesting; guess I'm really becoming a "name." Received a call from a lady who is giving a birthday party for her husband...he's into magic. Wanted to hire me just to be there - at my regular fee! No performing - just be there. She thought that my presence would be a great birthday gift for him. Anybody else want me to "just be there"? At my regular fee? I'm available!

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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Lofayne's VOL 3 NO. 6

THREE DOLLARS

JUNE. 1980

pocalypse â&#x20AC;˘ COPYRIGHT 1980 by H. Lorayne, Inc.

ISSUE NO. 30

V GENERAL \

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In Larry's hands this is as magical an impromptu routine as you could wish for. It appears as if the top card changes four times without that card ever moving from the top.

The "changed" cards are selected cards. The basic sleight is the Hofzinser Change, which Larry does beautifully. His tip is this: (You're holding one face-down card in your right hand at its inner right corner, thumbtip on top, first and second fingertips underneath. The top card of the deck, in your left hand, is "broken.") The object is to get the inner right corner of the broken card under your right forefingertip, so - simply be sure to keep a fairly large break or separation between that broken card's inner right corner and the rest of the deck.

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Square the face-up deck. All this takes a few seconds and appears as if you're mixing the cards some more. Start spreading the deck, looking for the joker. (See Afterthoughts.)

Be careful not to expose the reversed cards at the rear. Remove the joker, and turn the deck face down. If you want to check: From top of deck down; the AC, an indifferent card, faceup 3C, face-up 2C.

As your hands approach each other, the broken card's Inner right corner goes under your right forefingertip (between it and the right-hand card). (Fig. 1 is an exposed view.)

Now, in one brushing motion of your left thumb over the back of the right-hand card, the change occurs. Of course, your left thumb pulls the original right-hand card onto the deck. (See Fig. 2 for a stop-action view.) It should appear only as if you're brushing the right-hand card with your left thumb - as a magical gesture. It's a beautiful change when done right.

Calling the joker a magic card, show it as you hold it in position for the Hofzinser Change. As you show it, your left thumb pushes off, and then back, the top card of the deck securing a left little finger break under it.

Do the Hofzinser Change. Show that the joker has changed to the AC. As you show the AC, your left thumb presses down on the outer left corner of the deck. This creates a natural break at the inner right corner (See Fig. 4)

All right; three spectators each select a card. For teaching purposes, let's assume that they're the AC, 2C, and 3 C in that order. They must be controlled to the top in 2, 3, 1 order.

Do this any way you like. Larry places the cards into the deck in proper order then uses Neal Elias' multiple shift. You can have the three cards selected using my own Spread Control (CLOSE-UP CARD MAGIC), then hold a break beneath the three top cards as you slip the top one to third position. Or; simply take the three selections back onto the left-hand half in the proper order to begin with, then double cut them to the top.

beneath the face-up cards (four). Insert your left little fingertip. Place the AC face up on top, and flip over (face down) all cards up to the break. It appears simply as if you turned the AC face down.

Thumb off the top card and do the exact actions of the Hofzinser Change without doing the change. Show that the first selected card (AC) has changed to the second selected card (2C). As you show this card, do the push off and return of the top card with your left thumb, getting a break under it - as before. Since there's a face-up card beneath it, you should turn your hand inward as you do this, so as not to flash that face-up card.

When the cards are on top in 2C, 3C, AC order, get a momentary left little finger break beneath the top two cards. This break is transferred to your right thumbtip as your right hand lifts the top half of the deck. This right-hand half is used to flip over (face up) the left-hand half. Your left hand places its face-up half onto the face-down right-hand half.

Your left hand takes the lower half, up to the break - it is face down, of course. Flip it face up with the right-hand half.

Do the Hofzinser Change and show that the second card (2C) has changed to the third card (3C). As before, your left thumb presses on the outer left corner of the deck, causing a separation at the inner right corner at the natural break (three cards). Secure a break.

Place the third selection face up on top and flip over the entire block up to the break.

Now; the face-up right-hand half appears to be placed beneath the face-up left-hand half, but - your left forefinger buckles the rear cards of its half, separating two cards.

The right-hand half really goes above those two cards. (See Fig. 3 for an exposed view.)

â&#x20AC;˘350-

Thumb off the ing the change, as lusion; it was the it to be the joker

ing for the joker. I say that I'm looking for the magic card; then if I don't see the joker after I've spread about three quarters of the deck, I remove the AS, or any card - and use that. Or; I sometimes spread and have a spectator indicate any card - and use THAT as the "magic card."

top card. Rub it as if doyou say, "It was all an iljoker all the time!" Show - and end.

Afterthoughts: There's a face-up card (second selection) face up beneath the top card of the deck at the end. Clean up any way you like. This is a good, magical, routine - it's quick, and it's a fooler. I have a similar effect, entirely different method, in QUANTUM LEAPS, called The Changeling.

Also, instead of forming the separation and break at the natural break before the faceup card is placed onto the deck, you may prefer to place the card FIRST, then press down to form the separation - and flip over all the cards up to there. Either way is fine. Go over this a few times; you'll see what good magic it is.

If you have a joker in the deck, it's possible that it will be one of the selected cards - so, I don't usually say that I'm look-

David Harris

French Drop Cop

David was doing this coin vanish for another, fairly knowledgeable, magician. As he was, the magician pointed to David's right hand, and said, "If that coin isn't in that hand, you've got me." Well, David "had 'im;" the coin was not "in that hand."

Close your right hand, actually taking the coin. Your right fingers close around the coin and around your left forefingertip. Remove your left thumb. (See Fig. 3 - your view - for position at this moment.) Now move your open left hand away from your closed right hand.

Circle your right fist with your left hand, then move your left hand away - directly to your left - forefinger pointing toward your right fist. Open your right hand, and say, "It's still there."

The sequence can be used within a routine; David uses it as a complete effect by itself the clean vanish of a coin. It's based on the old French Drop sleight, but the coin is held in the hand thumb DOWN - so that there can be no suspicion that it falls into finger palm.

It isn't easy to describe, so follow along with coin in hand. Use a half dollar or English penny.

Hold the coin, at the edges, between your left thumb and forefinger tips - directly toward your spectator. The thumb edge of the coin should not be right at the very tip of the thumb - rather it's at about center of the fleshy pad. This isn't important now - for the feint - but it is later, for the sleight.

(See Fig. 1.)

Place your right thumb behind the coin, between your left thumb and forefinger, as far as it will go comfortably. The coin should be at approximately the center of your right palm.

It appears as if you're about to take the coin with your right hand. Display this for a moment. (See Fig. 2 for spectators' view.)

This has been the feint. You're now going to do exactly the same actions, as far as your audience is concerned. Hold the coin be-

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tween your left thumb and forefinger tips exactly as "before. Place your right thumb behind the coin, exactly as before. Display for a moment - as before. Slowly close your right fingers over the coin. Pause; and open those fingers - to show the coin again.

As your right fingers close completely over your left forefingertip the coin, almost automatically, moves into left-hand thumb-palm position.

That's it. Do exactly the actions you did during the feint - circle around your right hand, which is closed as if holding the coin, with your open left hand. The back of your left hand is toward the audience, of course.

(See Fig. 5-) Then, move your left hand to your left, forefinger pointing to your right hand. Open your right hand - the coin is gone!

Now - the move. Close your right fingers over the coin. As soon as these fingers cover the coin from spectator view, your left thumb and forefinger squeeze slightly together, flattening the coin. As part of the same movement, your left thumb moves a bit forward (outward), and starts to pull the coin backward.

The upper surface of the coin will actually be up against the rear part of your right thumb.

(Fig. 4 is an exposed rear view. In the figure

Afterthoughts: I doubt if this reads as well as it looks. It isn't at all difficult I picked it up on the first try, but then I'm fortunate enough, in most instances, to have the inventor do it for me, and show me the proper handling. One or two tries should do it for you.

When you're stealing out the coin, I told you to pull it back with your left thumb which is correct. But - you may find that bending your left forefinger helps to push it backward. Then, straighten that finger, of course. Try it.

the coin is exposed much more than it would be during performance - this is for clarity. Had to show it that way so that you'd see its approximate location.)

Herb Zarrow

Swivel

Round-A-Bout

It appears as if the deck goes through unbelievable maneuvers when you perform this.

Actually, it really does! It's an attentiongrabber, and some practice is required.

I usually contact the inner end of the upper half with the side of my extended left forefinger. Even more to the side than the figure indicates. (See Fig. 1.) The inner end

It's more difficult to describe and teach than it is to perform. You'll have to read my instructions carefully and match them to the illustrations. Don't let it throw you - it's not difficult.

When Herb first taught it to me, it felt awkward, and seemed difficult to do. It's amazing how quickly your fingers "learn" to do it. The entire flourish is done in one fluid motion, but I'll teach it to you in steps.

1. Start a regular swivel cut. Herb usually gets a break at the rear, near center, with his right thumbtip - although it isn't necessary. He feels that the first cut is cleaner that way. You can, of course, get the break with your left little finger, then transfer it to your right thumbtip.

of the upper half rides around to the front of that finger as this first, regular, swivel cut is done. (See Fig. 2.)

352 1

tip. (See Fig. 5.) When Herb does it, the outer end of the stepped-to-the-right portion is just at the first crease of his right second finger. Note the position of your left thumb. Also, the right first finger is curled on top near the right corner.

2. As soon as the upper half lands on your left palm, your left thumbtip separates this half into two portions by pulling down the lower part of it at the outer left corner (thumb riffle). Your right hand, and its half, move slightly to the left so that the back of

your right second finger can contact the top part of the lower half at its inner end. I contact it near its left corner; Herb contacts it at center. Experiment; see which is best for you. (See Fig. 3.) There is NO pause during performance.

s' Your left thumbtip contacts the left side of the inner end of the top right-hand portion, and swivels it out to the left. The fulcrum points are your left thumbtip and your right second fingertip. This portion rides around both those fingertips. (See Fig. 6.)

6. Swivel it out until it falls onto the left-hand packet, but outjog it. (A slight forward push against its inner end, with the back of your right second finger, may be necessary at first.) As you do that, your right hand should, automatically and naturally, turn a bit to your right so that the right-hand cards are almost broadside to the left-hand cards. (See Fig. ?. Your right hand would be much closer to the left-hand cards, in performance. And, the lower left-hand portion would be injogged farther than shown.)

3. Swivel out that top part of the lower half. Its inner end moves to your left. The fulcrum points are the back of your right second fingertip and the front of your left forefingertip. Your slightly extended left second finger aids in steadying and squaring the packet as it completes its swivel. This packet swivels to beneath the right-hand half. (See Fig. k for a spectator's view of this step halfway completed.)

7. Your right thumbtip, which extends beneath its packet, is in perfect position to contact the inner left corner of the left-hand lower (injogged) portion. It makes contact on the outside (left long side) of that portion near the corner.

At this moment, your left forefinger is curled over the outer end (right side) of its cards. Your left third and fourth fingers are naturally open.

Your right thumb swivels the left-hand packet to your right. The fulcrum points are your right thumbtip and your left second finger. The middle of the right long side of that

*+. The portion you've just swiveled ends up beneath the right-hand half, but stepped to the right. It is held beneath the right-hand half by your right thumbtip and second finger-

353

packet rides around the left second finger.

Your left third and fourth fingers are beneath the moving packet, helping to support it. (See Fig. 8.)

10. AS this portion STARTS turning face down, not before, start turning the remaining right-hand packet face up - end for end. That is, your right thumb releases that packet's inner end, and your bent forefinger straightens. The packet is held, momentarily, between your forefinger and second finger. (Fig. 11.)

8

11 11. Place the left long side of the faceup right-hand portion onto the top of the deck; it leans against your extended left fingertips.

Completely remove your right hand, as your left thumb and fingers flip that portion face down exactly as they did the previous portion.

8. As this packet comes to the end of its "swivel," push slightly upward with your right thumb, flipping the packet face up onto the left-hand portion. The bending in, closing, of your left third and fourth fingers aid in this flip-over. (See Fig. 9-)

Afterthoughts: The beauty of this is that at the completion of each step you're in exact position to begin the next step. That's what will enable you (after some practice) to do the entire thing without pausing; it should be, as I said, one continual, fluid, action.

Once you attain that blend of motion, you will start to realize the effectiveness of this sequence.

When I first tried it, there was a tendto flip the last packet, at the end, face with my right hand. That's incorrect. right hand should move completely away the deck as your left fingers "clean up."

Incidentally, it is also a full-deck control! When the sequence is over, every card is in exactly the position it was when you started.

ency down Your from

9. Immediately start to turn this face-up packet face down with your left fingers. It is turned face down like turning a page of a book to the left, by pushing outward with your left thumb and pushing it over with your left fingers. (See Fig. 10; the right hand has been removed so you can see the action clearly.)

In a future issue of Apocalypse, I'll run Fernando Roman's Complex-A-Cut. I'm mentioning it here because, for a real flourishy cut sequence, I start with Complex-A-Cut and go directly into Swivel Round-A-Bout. I'll mention this when I run Complex-A-Cut.

NEXT MONTH Howard Schwarzman - Star Warp Bob Hyans - Ring-A-Ding

Michael Ammar - Wiped Clean

Phil Goldstein - Monte Plus Minus

Roger Sherman - A Coin "Glassic"

Darwin Ortiz - Modern Jazz Aces

plus.

ILLUSTRATIONS:

PUBLISHED, WRITTEN, EDITED:

Lorayne :354:

JOE WIERZBICKI

Tom Craven

Propel-A-Coin

Tom has just been playing with this idea it's good. It's best when done one on one (for one or two people) and you must be seated at a table opposite your spectator(s).

to be propelled into your lap!

(See Fig. 1.)

If your right hand slaps the palmed coin

Effect: A coin (half dollar) is flipped in the air with your thumb (standard flipping move), caught, and slapped onto the back of your other hand, as you ask, "Heads or tails?"

(Again, this is standard procedure.)

No matter what the spectator's reply, you remove your hand showing that the half dollar has changed to another coin (copper, or silver dollar, etc.) Both hands are shown empty.

Performance: Have the, say, copper coin classic palmed in your right hand. Pick up the silver coin with the same hand, and flip it.

Catch it on the fingers of the hand. Watch your angles here, so as not to flash the palmed coin.

down onto the back of your left hand at normal speed - the "flipped" coin really shoots into your lap.

Your extended left fingertips rest on the table's edge. Your right hand, after catching the coin, turns palm down as it slaps the classic-palmed coin onto the back of your left hand. Release the coin being held near your fingertips at the same time, which causes it

Afterthoughts: You might try finger palming the copper coin - instead of classic palming it. It will take a bit of getting used to, but it does work that way. It gives you better cover, and the spectators see an "empty" right hand. Try it.

Stephen Minch

Falling Leaves

Effect: The two black jacks are openly removed from the deck and placed aside. A card is chosen and returned to the center of the deck. One of the black jacks is then placed face up into the deck - "somewhere above the selected card." The deck is given one riffle shuffle and offered to be cut. The second black jack is placed, again face up, wherever the spectator cuts the deck. Without any further manipulation the deck is squared and held at the fingertips about a foot above the table. The deck is tapped and immediately one, two, three single cards drop from the bottom and float to the table. These three cards are the two black jacks with one facedown card between them. The face-down card turns out, of course, to be the selection.

The visual impression of the jacks and selection slowly penetrating the deck to form an instant sandwich is pretty.

To perform: Ribbon spread the deck and have a card freely selected. As it is being noted, gather the spread and "kick" (or swing) cut about half of it into your left hand.

Have the card returned onto the left-hand half and drop the right-hand half onto it. This places the crimped card directly above the selection.

The plot, Steve believes, of the penetrating sandwich is Jon Racherbaumer's. His original handling will be found on pages 82-83 of the October, 1976 (Vol. 56, No. 10) issue of the Linking Ring, in Charles Hudson's Card Corner column. Steve's handling is a bit more direct and a bit more economical.

Now, with your thumbtip at the rear, break below the crimped card once more. Pick up TWO more cards below the break (the jack and the selection). Cut the deck into two halves (at the break) and immediately go into a riffle shuffle, retaining the selection, the jack, and the crimped card at the bottom of the deck.

The only necessary preparation is to corner crimp (downward) the bottom card of the deck. This may be done either before, during, or after you remove the black jacks and place them face up onto the table.

Slide the deck toward your spectator for a cut, telling him that if, by chance, he should cut to the face-up jack already in the deck he should cut to a different area. This, of course, is impossible, since the jack lies second from bottom, but it psychologically

Square the deck fairly and place it on the table in front of you - a long side, and the crimp, toward you. Explain that you know that the chosen card is near the center of the deck, and that you'll attempt to place one of the black jacks within a few cards above it.

Separate the deck slightly at the rear, lifting at the crimp, and place the first jack face up into this break (between the crimped card and the selection). Push the jack flush and square the deck cleanly and obviously.

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sets the fact(?) that the jack and the selected card are lost somewhere in the center.

the sandwich at the bottom will make this release of the three cards almost automatic.

With very little practice you'll find that you can cause the three to drop singly, one after and onto the other, giving the impression that they're penetrating from different depths in the deck and coming through one by one. This is a lovely concept. (See Fig. 2.)

When he cuts the deck, take the upper, cut-off, portion and place the second jack face up to its bottom. Emphasize that you are placing the jack exactly where he cut and that it is face up. With your left hand, pick up the tabled, bottom, half. Place the upper half (jack at bottom) onto the bottom half.

Actually though, you do not bury the face-up jack, but Ovette Master Move (a.k.a. Kelly Bottom Placement) it to the bottom of the deck. (See Fig. 1. )

Afterthoughts: This IS a pretty effect and a fooler. I never particularly cared for the Ovette Master Move (I didn't care for it originally nor did I care for it when, for whatever reason, it began being referred to as the Kelly Bottom Placement). It does fit for this routine, although there are other ways to accomplish what has to be-accomplished. A bottom-card buckle is one way; you'd have to change hands, perhaps, but that, too, fits perfectly.

This puts the finishing slice on the sandwich. Openly square the deck and take it from above with your right hand - fingers at the outer end and thumb at the inner. Hold it about a foot or so above the tabletop and lightly tap the top of the deck with your forefingertip. As you do - gently release the bottom three cards of the deck. They will flutter to the table, apparently penetrating the deck from different locations to form a sandwich of black jacks with the face-down selection between them!

I, personally, use my own place the bottom half ONTO the (the one with the face-up jack ing a momentary break. I then break (ostensibly to lose that HaLo Cut. I'm in position for

The natural bridge of the reversed jacks added to the crimped card resting just above

Whichever method you use, this is a good close-up card effect.

HaLo Cut. I cut-off half at bottom) holdcut at the jack) doing my the ending.

A Lorayne Storm I don't use a thumbtip anymore - I told you why in a previous "storm." But - try using yours this way: As you hand your spectator a book of matches and ask him to remove one, steal the thumbtip into your loose left fist; its opening upward, the same as the thumb opening of your hand. ALONGSIDE the thumbtip is a match that matches the ones you handed out.

Say, "you're pretty strong; now try to tear that match into three pieces."

"Very good."

He does.

Place one piece at a time into your left fist - and into the thumbtip. Steal the tip onto your right thumb as you place the last one. Reach into your pocket for a cigarette (or any "wand," but a cigarette fits better), leaving the thumbtip.

Tap your left fist with the cigarette.

Use it to light the cigarette.

Open your left hand to show the match restored.

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Jonathan Townsend

Thanks 7b Ramsey

This is for those who like to practice and if that practice helps you to do it right, it's a fine piece of magic. It looks great in Jon's hands, and it's an anytime, any place, little miracle.

Toss the two visible left-hand coins into your right hand. Be sure that one of them lands in finger-palm position; at your third and fourth fingers, rather than your second and third fingers.

Three half dollars are used - no extra coins, no gimmicks. The angle is head on, facing your spectator. Display the three coins at the tips of your right thumb and first and second fingers - in a fan, or spread, condition.

Your fingers (and the coins) are pointing upward; the back of your hand is toward your spectator.

Do the Utility move. That is, toss the two(?) coins from right to left hand, really retaining one in right-hand finger palm. The one you really toss joins the finger-palmed left-hand coin. All looks as it should; you're displaying two coins on your left palm.

Split the coins, taking one to the fingertips of each hand. Display for a beat. Now, your right hand approaches the left-hand coin exactly as before. Do the Ramsey move actions, but REALLY take the left-hand coin!

With your left thumb and first and second fingertips, take the coin at the left of the fan. Hold this coin pointing upward. Approach the left-hand coin with your right hand, as if to take that coin with your right third and fourth fingers. Do the Ramsey coin move. That is, as soon as the coin is hidden from view, relax your left fingers, allowing it to slide down to finger-palm position. (See Fig. 1.)

It is actually PLACED right onto the finger-palmed right-hand coin. This avoids clinking. (See Fig. 3-) Close your right third and fourth fingers over both coins.

Turn your right hand toward your left hand, placing the visible coin to your left fingertips. This is done exactly as when you placed the two coins from right to left fingertips.

Do the light upward tossing motion with your right hand, just as before. The two finger-palmed coins are hidden by your gently, and naturally, curled fingers. Your audience should see part of your palm. Done casually, this is completely deceptive. The second coin has vanished.

Your right third and fourth fingers close as if taking the coin, of course. Move your right hand away just a bit, then turn it so that the two coins are downward, placing those two coins to your left fingertips. (Fig. 2.)

Jonathan's last-coin move "had me going."

He does the Ramsey move, with opposite hands, while the two coins are finger palmed - as you will see. Place the visible coin back, from left to right fingertips. Slowly open your left hand.

This is done in a casual way - no big gesture. But it's a "sucker" move. Other magicians will have expected to see a coin, or coins, in that hand.

With your left hand, approach the righthand coin, as if to take it as you've taken(?) the others. As soon as it's hidden from spectator's view, slightly relax your right fingers so that the coin SWIVELS (not slides) down.

(See Fig. 4 for a stop-action view.) As your

Move your right hand away a bit, and do a light upward tossing motion with it - naturally opening your hand as you do. That's the first vanish.

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left fingers close, pretending to take it, your right thumb slides the coin down and flush onto the two already finger-palmed coins. (Fig. 5 shows this action in progress. The left fingers are still open only for clarity purposes.

In performance, they'd be almost closed at this point.) It will take some practice to do this properly, and with no clinking.

Your left hand moves away and does the light upward tossing motion; it is empty. Your partially open right hand does an upward tossing gesture also - not quite as pronounced as the left-hand tossing motion. Again, the coins are hidden by your naturally curled right fingers. All coins have vanished!

Afterthoughts; I can't tell you how pretty this is in Jonathan's hands. You'd have to see it.

The moves aren't that difficult; the timing, the casualness - is. Practice the angles for the upward "tosses" while hiding a coin, or coins. Part of the palm should be seen not the coins, of course.

Get the routine down pat; don't leave out any steps. Done correctly, it is a difficult routine for another magician to "backtrack."

Lance Rogers

Snap-In

This is an instant, magical, face-up appearance of a selected card; it's just vaguely reminiscent of my own Goin' Fishin', out of AFTERTHOUGHTS.

Revelation But - instead of taking that half normally, your left thumb reaches over the half and grasps it at its right long side. (See Fig. 2.)

A selected card is controlled to the bottom of the deck. You ask for the name of the card and, the moment it's named, you appear to do one fast cut. The card appears INSTANTLY face up and protruding from the center of the right-hand face-down half.

Here's how: Your right hand takes the deck from above. As it does, your left forefinger buckles the bottom card so that that card separates at the inner end. Your right thumbtip momentarily maintains that separation as your right hand takes the deck. (Fig. 1.)

At the same time, your left fingertips close slightly and grasp the bottom, separated, card from underneath - also at its right long side.

Bend your left forefinger so that- its tip is

Start to "kick" cut the top half of the deck into your left hand with your right forefinger.

on the face of the separated card. Start to move both the top half and the separated (se-

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Let the opening of the right-hand half close it opens for only a fraction of a second. Your left first and second fingers release the card.

This all happens almost simultaneously. (See Fig. 5 for the end result.)

lected) card to the left. As your left hand moves, it tilts slightly inward (downward, to the left). (See Fig. 3. ) Now, two things happen simultaneously.

Your right forefingertip lifts up the top half of its half, forming an opening or "mouth" - as your left fingers open, automatically turning the separated card face up. It is grasped between your left first and second fingers. (See Fig. 4) to see this starting. If your timing and "spacing" is right, that card snaps directly into the opening of the right-hand half.

Afterthoughts: I've broken this into steps for you; in performance it's one instant and fluid action. After a few tries, you'll see that the selected card snaps over and into the right hand half's opening so fast that the viewer can't possibly see where it's coming from. From the position in figure 5. place the right-hand half to the table, as is - to end.

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

Tom Gagnon

Sandwich Spread Then the single "mate" is dropped onto the spread, nearer the other end. That's fine; or - simply deal off the top, single, mate and then the remaining two as one.

Tom uses this for other magicians, so that the action of the "Spread Control" is not exposed. The Spread Control is my move, out of CLOSE-UP CARD MAGIC. Frankly, I think this quickie is effective for laymen, too, and it doesn't really "expose" my Spread Control. I purposely tested it. I did Sandwich Spread and then, a few tricks later, I used my Spread Control in a routine. My spectators had no idea that I had controlled three cards with the Spread Control.

Make a remark about the mates being magic cards - or detective cards, or whatever patter line you like - and gather the spread, doing my Spread Control. This causes the two face-up kings to openly ride over the spread - to the top. (See Afterthoughts.) Ask for the name of the selected card, then slowly spread the Kings, showing that they've caught, or "sandwiched" a card. Turn it over, showing that it is the correct one.

The Spread Control action is used here as an open procedure. Openly remove, and toss face up onto the table, say, the two red kings or any two mates. You can let the spectator suggest the mates and remove them, if you like.

Afterthoughts: The effect is startling, and quite effective. Trv it and see.

Now, have a card selected - and control it to the top. Tom uses the "spectator peek" and the pass, here. Any selection and control will do.

If you don't know my Spread Control, I suggest you look it up. I believe it to be an overlooked, excellent, utility sleight. The principle is that when cards are placed onto a ribbon spread, and the spread gathered these cards "ride" to the top, in order!

Pick up the two red kings and place them face up onto the deck, slightly spread, displaying them. Square them, stealing the top face-down card beneath them. Place this packet of three - being handled as two face-up kings - onto the table for the moment. This is arbitrary - you can hold the packet in one hand, if you prefer.

Let your spectator shuffle the deck, then take it back and do a neat, face-down, ribbon spread from left to right - in readiness for my Spread Control.

Pick up the "king" packet and drop the top, single, face-up, king onto the spread, near the right end. Drop the remaining faceup king (with the face-down selected card hidden beneath it) onto the spread, nearer the left end.

The key is to press down lightly at the left end of the spread with your left fingertips. Those fingertips should be contacting the tabletop - and also touching the cards at the left end. (See Fig. 1.) The spread is gathered and scooped into your waiting right hand. Just maintain a slight downward pressure with your left fingertips as you "gather and scoop" - the rest is automatic.

Tom uses Mario's Two Card Throw for this.

That enables you to drop the two lower cards onto the spread (nearer the left end) first. :

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Editorial I need a consensus of opinion. One of the reasons I originally started my "Afterthoughts" idea - it goes back to my first magic book, CLOSE-UP CARD MAGIC - was to keep my personal thoughts separated from the actual text. I've used the idea in every book I've written. When I was asked and commissioned to write and edit Tarbell #7 Lou Tannen insisted that I include my Afterthoughts - it was part of the contract.

When Apocalypse was started, again, part of the format planning was that thoughts. It has become, sort of, a trademark of mine. Anytime, through the Afterthoughts was mentioned to me - in my mail, or verbally, it was always in In other words, it was liked, appreciated. With few exceptions, you've found after Apocalypse items.

I include my Afteryears, that my a positive way. my Afterthoughts

Recently, someone mentioned to me fleetingly - someone I respect - that I should think of leaving a contributor's effect or routine alone; omit the Afterthoughts. The reasoning being if the effect is so good, at least good enough to appear in Apocalypse, why say that I'd change it at all - or do it this way or that way?

Well, God knows (as do many mortals) that I've been wrong before. Have I been wrong all this time? Should I keep my big mouth shut, and forget about the Afterthoughts? Have only my "fans" been telling me that they loved the Afterthoughts? Have others been quietly seething about them, and never mentioned their negative (anti-Afterthoughts) thoughts to me?

In my limited experience, it has always been the other way around. The "boosters" don't bother writing or transmitting their boosts - it's the "knockers" who usually make the noise send the letters. Is it the opposite so far as my Afterthoughts are concerned?

I honestly don't know now. Perhaps I'm doing the "princess and the pea" bit - being overly sensitive, and allowing one person's remark to be felt through layers of mattresses.

Quite frankly, it would be much easier, less time-consuming, for me to write up the contributions exactly as contributed. In many cases, including the Afterthoughts forces me to take the time to really learn the effect or routine; really play with it, try it, etc., in order to perhaps come up with my own piece of handling, a change here or there, another idea or pathway on that particular thing that subscribers may want to explore. That takes time, and work.

The same fellow suggested that instead of including my thoughts in such a definite way I might think of mentioning my thought only as a "challenge" sort of thing. After describing a routine perhaps I would say, "This can also be done with three selected cards - see if you can work it out." That way, I've planted the suggestion that it can be done that way (since I would already have worked it out) and simply leave it at that. Those who cared would work on it.

To repeat, I don't know. It's a decision with which I need some help. After all, if you're reading this, you're involved. What I write, my format, my selection of material, affects you.

You are the reason for, the lifeblood of, Apocalypse. If what I write isn't read, I'm blowing into the gale - it's all a vacuum; academic.

That is not to intimate that my words are gospel (that's to placate, reassure, and quiet, the "footsteps on his own ego" pooh-poohers) - obviously they're not, and no one is as aware of that as much as I am. But, dammit, you are paying to read my words (and of course other peoples' contributions) - and although what I write may never be read more than once and never thought about again - you do, and should, have some say in the matter.

So, get into the act - help me make a decision.

Let me know what you think; I can't read your mind.

Should I "cool it" v/ith the Afterthoughts?

Afterthoughts: I will go along with a majority of honest opinion. It will, of necessity, be some time before I can change the format (if that's what the majority desires). I am quite a bit ahead on issues, and many contributions are already written and prepared for camera.

Speak your mind; have your say - you know where to reach me. I'm a good talker, but I'm also a great listener!

All back issues, including all of 1978, Vol. I, which are marked $2.50, are now $3.00 per copy - : Direct from me, or your dealer. â&#x20AC;&#x201D; 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 - $33-5° surface mail (U.S.A. dollars only) - $39.00 air mail - $i4-O.5O airmail to Australia, Japan, So. Africa, etc.

f

> 360

Lotaynfs VOL. 3 NO. 7

THREE DOLLARS

JULY, 1980

pocalypse ISSUE NO. 31

> COPYRIGHT 1980 by H. Lorayne, Inc.

The "card warp" principle, using two cards, is Roy Walton's.

Bob McAllister was the first to think of using the principle with one card and a dollar bill. I liked that much better than when done with only one card (claimed by Jeff Busby) or two cards (Walton).

star warP Howard scnwarzmon

Now, Howie has come up with this beautiful routine, inspired by the McAllister routine.

He uses a couple of "pieces" of the abovementioned gentlemen, but what makes it strong is his handling and the "Schwarzman Gambit." The routine consists of three phases, and will take a bit of explaining on my part and some concentration on your part.

Prepare a playing card by tearing it down the center of one long side, to the center of the card. A picture card affords better effect-visibility, and also hides the tear better than a spot card. Howie suggests that you hold the back of the card toward you when you tear, and tear back and forth a bit as you start and continue tearing. This is for easier handling later,

â&#x20AC;˘361

and so that the tear shows only minimally although it's covered throughout the routine.

Phase One: Open the fold keeping the tear upward, and separate card and bill. The tear is now to your left. The card is face up in your left hand, the left end of the bill is on the card. (Just as in Figure 2.) To display: Your left hand, holding card and bill, turns palm down, fingers pointing diagonally downward.

Your right hand moves over your left fingers right thumb touching left thumb - and takes over the card. Slide the card downward against the bill toward the bill's other end. As you do this, both hands turn palm up. This transfer effectively covers the tear and puts hands, bill, and card in proper position to continue.

(See Fig. 5-) Your left hand can let go now.

The bill needs no preparation, except perhaps a sharp crease across its width, at center.

(See Fig. 1.) Keeping the face of the bill toward you - and the tear on the card to your left - display both. Your left fingers cover the tear easily and completely. The face of the bill (Washington "looking" at you) is toward you whenever you display, throughout the routine.

Grasp the bill with your open left 1st and 2nd fingers. Now, and this is the key move it appears simply as if you're folding the bill once - at its original center crease, around the face-up card. (Fig. 6 shows the position just prior to folding.) As you fold the outer Place the left end of the bill onto the card and turn both so that your spectators see the reverse sides. Turn them down again. Here, you can do the basic "coin hidden under bill switchover" - your right second finger reaches over to cover the tear as the card moves to the right hand. Turn up to display again. (Fig. 2 shows the original display; Fig. 3 shows the "switchover" in progress.)

6

Fold the bill around the card - the upper long side of the face-up card, the tear, is upward. Now, fold the card (and the bill along with it) in half, lengthwise. The lower side is folded upward; face of card goes inward.

(Fig. !+.) As you do - "For purposes of this

demonstration, we'll refer to the face of the folded card as the 'inside' and the back as the 'outside.'" Do this neatly (the card folded exactly in half and the fold creased). Open the fold, and fold the other way, along the same crease. "Now the inside (face) is on the outside and the outside (back) is on the inside, This prepares both card and bill. Now -

half of the bill over and down, your left 2nd finger contacts the flap and folds that down along with the bill. (Fig. 7 is an exposed view of this happening; Fig. ?A, the end result.)

The flap is completely hidden by the bill, of course - since the card is basically face up or face toward audience. Practice this. Done smoothly and well, there's nothing to be seen.

362

Without pausing, your right thumbtip goes into the fold of bill at the right side of the package as your left fingers open the bill, pulling its left end to your left. THIS AUTOMATICALLY OPENS THE OTHER FLAP! And, again, without a pause, your right fingers push the card diagonally upward so that its outer left corner is exposed. (Fig. 13-) This is all one smooth and fluid sequence; and it's a beauty.

It will fool any magician who knows the principle because he almost instantly sees the corner that he thinks is folded down and over.

Fold the card and bill along its (the card's) center-length crease, toward you. This exposes the back of the card. All three phases start this way - the back is always exposed at the first fold of the card. The bill goes along - is also folded. (Fig. 8.) Twist the package counter clockwise so that the card points away from you. Turn your hands so that the back is seen on the underside also. Turn back to position.

8 Now, do the move claimed by Busby. Your right fingers go beneath the upper (exposed) part of the folded card and press gently upward - as those fingers move into the opening created. What's happened here is that your right fingers have moved between card and flap, automatically. (Fig. <?â&#x20AC;˘) Grasp and hold with your right fingers as your left fingers open and grasp the one layer of flap and bill, and open them. Turn the underside toward your audience as you do this. Your left fingers hide the flap; you're displaying an entire half of the card. (Fig. 10 is your audience's view.)

This is the end of Phase One. Before going into Phase Two, display card and bill like this: From the position in Figure 13 - your left hand pulls the bill down and to the left until its outer right corner is just at the center of the card's left long side, at the tear. Your right thumb and 2nd finger hold the bill in place. Your thumb covers the tear.

(Fig. 1^4-. ) Display for a beat, then turn over

With your left fingers, fold the left portion back to position - your left fingers continue to hide the flap. Remove your left fingers; your right fingers hold all at the right.

Don't turn the package; keep it as is. The card is now pointing toward you. Your left forefinger (or thumb) pushes the card through the bill, away from you. The face of the card comes out of the far end. Throughout the routine, whenever the card is pushed through the bill, pull it out the other end a bit more to expose more of the card. (Fig. 11.)

your hands, and the bill and card, to show their other sides. Your right 2nd finger covers the tear. Turn back to position, and go into...

Phase Two: Do the "get ready" move exactly as for Phase One; that is, fold the bill over the card, bending, the flap down and away from you at the same time. Fold the top half of the card (and bill) down toward you, also as in Phase One. The card's back shows; turn your hand to show the other side of the package; then back to position. "The outside is on the outside..." Open the outer fold of the bill at its right side (folding it and the card open to the left) to display the card's entire face at the upper end. (Fig. 15.) "...And the inside is on the inside." Fold the left side back to position. (This is an excellent "convincer.")

Turn over your right hand, and the package, showing its other side. The card now points toward you. Grasp the package at the left side with your left fingers. Here's the "Schwarzman Gambit," which makes this so good. Your right fingers go into the fold of the exposed part of the card, and continue moving to the left to push open the portion of bill and card beneath those fingers. This automatically opens one flap. (Fig. 12.)

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"But when I do this..." Holding the package at its right side with your right fingers, your left forefinger pushes the card down through the bill. (Remember to pull it out down - a bit more with your left fingers.) "...The inside is on the outside!"

Place your right fingers into the folded card - move them to the left, opening the underside of the package to the left. Your left fingers aid in this, and grasp the package at its upper left, covering the empty "flap" space.

Turn over your left hand to show the underside.

(Fig. 16.) "...And the outside is on the inside!" This, too, is a convincer.

Holding the package at the right with your right fingers, push the card up and through with your left thumb - the back comes out of the top of the bill. Push it down again only part way, so that the card's back shows at the top of the bill and the same area of face shows at the bottom. Immediately fold the lower half of the package upward - in half. (Fig. 18.) As you fold, say, "If I fold the thing, in half it locks it in so that it can't move." Demonstrate by holding the folded package at its right side as your left hand pulls up alternately on both ends of the (protruding) card.

Fold and crease. Really crease (press) hard - you're going to tear the card at that crease. Open the package and hold it lengthwise - single folds of card and bill upward.

Your left fingers grasp the package at the top, just left of center. Your right fingers grasp the exposed part of the card, at the right.

Pull the card diagonally downward so that the right half tears off completely. (Fig. 19.)

16

Turn your hand back to position as your right thumbtip enters the fold of the bill at the right - and do the "Schwarzman Gambit" exactly as described. That is; open the bill, which automatically opens the flap - and immediately expose the card's outer left corner (as in Figure 13). Display the bill as at the end of Phase One (look at Figure 14), then...

Phase Three: Do exactly as in the preceding phases until the card is folded, back outward, and protruding at the top of the bill.

Push it down, performing the "inside-outside" change. At this point, Howie uses a McAllister handling to display the full length (face) of one side of the card. Place your right thumb-

20

Place this folded piece onto the bill it straddles the bill. Change positions of your hands so that your left fingers can take the left part of the card out of the bill, and place that on top of the bill. (Fig. 20.)

That's the end! Use a closing remark, like "We've just taken a quick look into the fourth dimension," or whatever - and drop all onto the table. You're clean! tip on the card and press gently downward. Move the thumbtip upward until it's at about center of the folded bill. Then your left fingers bend back bill and card layers that are above (on) your right thumbtip. Your left forefingertip is curled on top of the bill to prevent this "bend-back" from going too far back. This exposes one entire side (face) of the card.

(Fig. 1?.) Release the "bent back" portion and get back to position.

Afterthoughts: Obviously, you'll have to go over this a few times to familiarize yourself with the entire routine. And, that entire routine should be done easily, casually, naturally, loosely. Howie "glides" through it; the card, bill, package, is never held tightly or tensely.

Give this the time, effort, and practice, it deserves. Stay loose - it's a beauty!

PUBLISHED, WRITTEN, EDITED:

Harry Lorayne

ILLUSTRATIONS:

364-

JOE WIERZBICKI

Bob Hyans

Ring-A-Ding short end, and pull through, etc. Again, this is a very open handling. Play with it a while.

Your right hand seems empty because space can be seen between your fingers - except between your second and third fingers, of course.

(See Fig. 1A.)

This seems to be similar to many other ring-off-rope effects, yet it's more effective than most. Let's face it, to the layman they are mostly basically the same - but not to magicians. This one is short and sweet. The first penetration is stunning. The truth is that this looks more magical because there are no machinations, no big preparations; you just do the thing.

Finally, drape one end of the rope over your right hand; the ring is at about center.

Take the examined ring and place (clip) it between your first and second fingers.

(See Fig. 2.) The instant it's placed, your left

Two like rings are needed. Bob uses colored plastic rings that he buys on Canal Street in New York City for 100 each. They're perfect for the effect. It's stronger, however, to use regular finger rings. If you're wearing one and simply remove it to do the effect, it makes it more impromptu and magical looking.

Bob uses a two-foot length of magicians' rope; he removes the center core and puts tape around each end. This makes it easier to thread through a ring.

The duplicate ring should already be threaded onto the center of the rope. Bob keeps this on his lap; it can be picked up from anywhere - as long as you can get it right into proper position.

fingers pull the lower end of the rope to your left, and upward, pulling free the threaded ring. Your right thumb holds the other end of the rope against your hand. (See Fig. 3-) This is an instant, and stunning, appearance of the ring threaded on the rope. Remember; the spectators see both rope ends when you place the loose ring - and you instantly show it threaded.

The loose ring is handed out for examination. As it's being examined, your right hand obtains the threaded ring. It is clipped between your second and third fingers - near the base of the fingers, and on the palm side, of course.

With your left hand, raise the two ends of the rope. This is a natural way to hold the rope, and seems quite legitimate from the front.

(See Fig. 1) for your view.

Left fingers holding the visible ring in place, remove the rope entirely from your right hand. It's easier to do this if you place the ring and rope onto the table for a moment, to display them. Then, replace the threaded ring to its original clipped position, directly below the hidden, clipped, ring. Without pausing, lift the part of the rope just above the threaded ring and place it directly onto the upper clipped ring. Your left thumbtip and forefingertip press this piece onto the hidden ring - down to near the clipped edge.

(See Fig. k) for an exposed side view.

The rope can now be pulled back and forth through your right hand, once or twice, with your left hand. Just take the loose end (or drop it) and pull to your left. Then drop that end, reach over your right hand to grasp the

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I prefer to lap the hidden ring AS I pull the visible (supposedly threaded) ring and rope out of my right hand. All attention is on the left hand, and it's easy enough to arrange it so that your right hand naturally moves to the

Pull rope and ring to the left - unthreading the (now) hidden ring. Pause. It appears as if the ring is still threaded. Your left thumb and forefinger tips cover the loose bight.

The illusion is perfect. (See Fig. 5.) This grip is not Bob's original concept, but it fits perfectly here.

To end, maintain your grip on the ring as your right hand grasps the two ends of the rope - and with a sharp pull, pull the rope away from the ring. It appears as if the rope has penetrated the ring again - visibly.

Drop ring and rope onto the table for examination.

Afterthoughts: Get the moves down pat; do it smoothly. It's a fine, fast, piece of magic. The back of your right hand, of course, is always toward the spectators.

Bob either picks up the tabled rope and ring, with his right hand, and places them and the hidden ring - into a pocket; or, he laps the hidden ring after placing the rope and visible ring to the table.

Phil Goldstein

table's edge. Lap as soon as the rope leaves your right hand and as your left hand is still moving.

This way, you can do the last penetration and place ring and rope onto the table with obviously empty hands - you're completely clean.

Monte Plus Minus You now use an Ed Mario idea. Square the small fan, leaving the center card outjogged.

If you hold the package near the inner end, above the table, and give it a sharp downward shake, the outjogged card will flip out and land face up on the table. (See Fig. 2.) It appears as if the ace of spades has instantly, and visibly, changed to a joker.

Phil tells me that he had been devoting quite a bit of time to a series of three-card effects when he read Apocalypse - issue #7, July, 1978. In that issue, I had included Ken Krenzel's Monte Plus Plus, which is his version of Trevor Lewis' Monte Plus (Apocalypse - June, 1978).

This inspired Phil to add Ken's addition to some of the concepts he'd been working on, and he came up with this effect. It can be used by itself, or - and it fits perfectly as an ending to a three-card monte routine.

Three cards are used, for example - two identical jokers and the ace of spades. Do a few monte-tossing demonstrations, then patter to the effect that you'll let your audience in on one of the real secrets of the game. Holding the three cards face up in a fan, go through the handling explained in Apocalypse, July, 1978 - in which the center "vital" card (AS) is outjogged halfway. This is described in detail in the above-mentioned issue - on page #81.

It is an unusually clean monte switch.

If you didn't learn it when I originally ran it, you made a mistake. Perhaps now you'll be inspired to look it up and learn it!

Separate the two remaining, face-down, cards taking the top one with your right hand and the lower one (AS) with your left. Place them onto the table. Pick up the face-up joker and turn it face down. Use it to flip over the face-down card at your right - the other joker.

When you do this, use the actions you'd use if you were doing a Mexican Turnover.

When you do the "turnover switch" you're holding the three cards in a face-down fan.

The center card which, if you've done the switch properly, your spectator will swear is the ace of spades - is projecting from center.

(See Fig. 1.) Actually, that outjogged card is a joker; the ace is the lowermost card of the three.

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As you count and display them, your ending line might be, "You see, the real secret to the game is that I don't use an ace at all - just three jokers!"

Turn the joker you're holding face up and use it to scoop up the tabled, face-up, joker.

Turn the two jokers face down and hold them in your right hand. With your right fingers push the lower joker to the left about a quarter of an inch. You may find it easier to hold the pair in your left hand as your right fingers do the jogging. Or - simply push off the top card that quarter of an inch with your left thumb as your right fingers take the pair.

This accomplishes the same thing.

Now; use the pair of jokers to apparently flip over the (third) tabled card. Actually, what you do is a variation of the Mexican Turnover, switching the lower card of the pair for the tabled card. Slide the pair under the tabled card, which is braced by your left fingers . (See Fig. 3.)

Afterthoughts: This is a pretty sequence.

Obviously, the variation of the Mexican Turnover must be practiced until it really, and simply, looks as if you're flipping over the tabled, face-down, card.

As the pair slides to the left, your left fingertips contact the left side of the jogged-to-the-left bottom card of the pair. (It is, at that moment, the bottom card of the three. ) Your right hand pulls the top two cards upward as the lowermost (originally jogged) card is held down, at its left side, with your left fingers. It's held down at its left side but automatically raised at its right side - allowing it to be flipped over and face up (to the left). (See Fig. 4 for a stopaction view. )

My method for the count at the end - and it may very well be the E-Y-E Count that Phil refers to - is this: The ace is lowermost of the three face-up cards. Incidentally, I hold the cards in my right hand and "take" with my left. You use whichever you normally do.

The taking hand takes the top (face) card (mental beat "one"). It comes back to take the next card, but - it moves the card it holds to beneath, and flushes it with, the two remaining cards. Your "holding" hand's thumbtip does a block push-off of two cards and your taking hand takes them. (Easy; since you're holding only three cards; mental beat "two".) This, of course, is all done in one action. Your taking hand returns to take the remaining card (this is the one that's seen, and counted, twice) onto the two it already has (mental beat "three").

When done properly, it should appear simply as if you flipped over this card (just as you did the previous one) - revealing another (third - ?) joker.

Flip over (face up) the two cards in your hands. Be sure to keep them pretty well squared so as not to expose the ace of spades at the rear. A joker shows at the face. Pick up the tabled joker and place it face up onto these two cards. Now, use the Victor E-Y-E Count to show these cards as three jokers. (I don't know this count, at least not by name. See Afterthoughts.)

NEXT MONTH

That's it. Three jokers show. It's a simple, casual, and deceptive, count. The ace is still lowermost, so the count (or display) can be repeated exactly, although that isn't necessary.

Ron Ferris - The Card Cocoon Dave Lederman - No Knot Doty - Lickety-Split Color Change Bonnie Hammond - Three Opener Harry Lorayne - Four Opener Allan Slaight - Aces Loaded Greg Miller - Humble/Arrogant Card Trick

â&#x20AC;˘367'

plus.

Michael Ammar

Wiped Clean

This is a utility move. Wiped Clean ("because that is apparently what you do to both hands, after the coin has vanished) accomplishes what you want to accomplish in a perfectly clean way. It accomplishes one thing only showing both hands empty, front and back, while concealing a coin. However, the ability to do this .just once during a one-coin routine, or a more complicated routine, will make every other vanish stronger by association. That is, if you show both hands empty in a clean, natural, way after vanishing one coin, then your spectators will assume your hands are empty each time .

Your left hand casually "brushes" the coin along with it down your palm-up right right hand. At the end of the brush the coin will have been slid along your right palm to the ends of your second and third fingers. The coin is covered by the ends of your left second and first fingers. (See Fig. k.) This is sneaky, but good! It's the key to the entire sequence.

The coin is classic palmed in your right hand after the vanish. Your right hand approaches your open, palm-up, left hand. Your right hand is palm down, and your fingers brush lightly over your left palm. The brush starts from the heel area of your palm and goes to the fingertips. Your right thumb hangs naturally below your left hand. This helps to hide the misshapen-thumb look that some hands assume when a coin is classic palmed. At the end of the "brush," your right second fingertip will be on your left second fingertip. (See Fig. 1.)

Your left hand freezes. Your right hand pivots palm down with its first or second finger still in contact with your left first finger. This helps to conceal the coin as the right second, third, and fourth fingers curl into the palm. The coin in NOT placed into classic palm yet; it rests on your right fingers. I prefer, at this point, to turn my right hand palm down as my right fingertips maintain contact with the coin - that is, rather than finger to flinger contact. My fingers (right) sort of "swirl" on the coin. The only "angly" part of the entire sequence is right here. Be sure the back of your right hand is directly toward your spectators so that the coin doesn't flash.

Timing is crucial in the next move. Both hands start to pivot over while your second fingertips maintain contact with each other.

As your right hand turns palm up, your left turns palm down (See Fig. 2 for a stop-action

Your right forefinger remains extended as it brushes along the backs of your left fingers down to your wrist and then back up to the fingertips. It's a back, then out, motion along the back of your left hand. (See Fig. 5-) Michael completes the palming of the coin in his right hand during this action. (I prefer to complete the palming of the coin during the next action, because the left hand "shades" the momentary bending-in of the right second and third fingers.) view about three-quarters of the way through the turn) and "rides" along your right second finger on into your right palm. Just as your right hand turns completely palm up, your left second and first fingers cover the palmed coin.

(See Fig. 3.)

Your left hand moves back and brushes the back of your right hand from wrist to right fingertips. (This is when I complete the palming. Try both ways - obviously, you'll know which is best for you.)

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Afterthoughts; Go over this two or three times. That's all it will take to show you how it flows beautifully, and how good and clean it is. The explanatory patter is basically what Mike uses, and it's fine. I some-

The entire sequence should not look as if it's being done with concentrated effort. And, even if you have never shown your hands empty this way before, if you do it casually and comfortably, it appears impossible that you could be concealing a coin.

6

Although it's been described in several steps, it's a flowing, continual, up and back movement. There are no beats or pauses. Rather, you must do it in rhythm. The patter is simple, and explanatory: "The coin has vanished. It's not here, not here, not here, and not here. It's gone!" The actions and words must mesh perfectly, of course. As you say, "It's gone," your hands move into the gesture shown in Fig. 6. This punctuates the end of the sequence and the end of your patter. It looks fair and natural - and helps to make your right hand look normal.

Darwin Ortiz

times say, matching words to actions - "It's not on the front of this hand, the front of this hand, the back of this hand, or the back of this hand - it's gone!" Or - "some magicians hide a coin on the front of this hand -etc. --. I don't - it's gone!"

This is a pretty thing.

Modern Jazz Aces Immediately lift off all the cards above the break. Execute the standard Braue Secret Addition as you display the four aces. (Flip three aces, one at a time, face down onto the packet.

The last ace (AS) is dropped onto the packet with the extra card hidden under it.)

This beautiful routine is a technical refinement of Peter Kane's Jazz Aces. It uses the same one-ahead principle, but the handling is considerably different. It is basically a one-at-a-time ace assembly, but with a difference. An indifferent card is placed with the "leader" ace each time, and that card, almost visibly, changes places with an ace. One of the sequences to show that an ace has vanished from a four-card packet is Darwin's original concept. It can be used during other routines; it's a good substitute for the Elmsley Count.

At the finish, you'll be left with the AS face up on top, a face-down black card beneath it, and the other three aces face down beneath the black card. Deal the AS face up onto the table at D (see diagram). Slowly and cleanly, deal the top three cards (supposedly the other aces) from right to left onto the table at C, B, and A. The black card is at C.

Remove the four aces and the four black 8's and 9's and gather them into one packet with the aces at the face. Alternate the 8's and 9's, and the AS should be the face card of the packet. That will be the "leader" ace.

Fan the cards, faces toward your audience, while commenting about needing eight cards for your next miracle. Close the fan and slowly reverse-count the cards onto the table, into a face-down packet to demonstrate that you do, indeed, have eight cards.

A D Count the remaining four cards from your left to your right hand, placing each card under the preceding one except for the last card, which is placed on top. There is now an ace second from the top of the packet. Turn the packet face up and Elmsley Count to show four black cards. Turn the packet face down and deal the top card onto and overlapping the AS.

Pick up the packet and hold it in lefthand dealing position. (The AS is now the top card.) Spread the top five cards between your hands and flip the top FOUR cards (the aces) face up onto the packet as your left little finger catches a break under the fifth card.

Spread the remaining three cards in your left hand. Pick up the card at position A and

369

this. Your right fingers, under the face-up card, do the flipping over. (See Fig. 2.) Toss the right-hand card face down onto the table.

Flip the double card face down and thumb off the top card onto the tabled card. AS you do, using your left thumb, flip the two remaining cards face up in your left hand. Your right hand now deals the face card face down onto the tabled cards and, finally, does the same thing with the last card.

insert it second from the top of the cards in your hand, and square.

You are now going to execute Mario's Olram Subtlety to show that the ace has vanished.

Hold the cards in a high grip and well forward in your left hand. Thumb off the top card and take it at its lower right corner with your right fingers. Turn both hands over (toward you, palm down) to show two black cards. (See Fig. 1.) As you turn your hands palm up again, toss the right-hand card onto the table as your left hand deals its top card onto the tabled card. Now take one card in each hand (of the remaining two) and turn over your hands to show two more black cards. Toss these onto the tabled cards.

This sequence looks extremely convincing and graceful if executed properly; that is, with each move flowing into the next. I prefer the bottom-card buckle to flip over the double card, and to flip it down again. When dealing the last two cards onto the tabled two cards, Darwin takes the top one with fingers at face and moves it right onto the tabled cards. The other hand follows, dropping its card face down onto all. This makes for a smoother, more graceful, handling. This is the sequence I referred to - the one that's a good substitute for the Elmsley Count.

(Darwin adds one subtlety here. When he shows the last two cards, his right hand takes the bottom card of the two. This is to move the card that's been seen in the left hand to the right hand. As a matter of fact, you can use the left-hand card to partially cover the face of the right-hand card as you flash them.

This isn't necessary, really, since the fact that one card is seen twice NEVER registers.)

Turn up the face-down card at D to show that the third ace has arrived. The aces at the leader position should remain in spread, or fan, condition throughout.

Tempo and attitude are critical in this move, but properly performed it will go by any audience. Smoothness, no hesitations, and staying in beat - are the keys. Immediately turn up the face-down card at D (an ace) to show that the transposition is complete.

Pick up the four face-down cards, casually transferring the top two to the bottom as you do. As you square, obtain a break below the second card. Double lift to show a black card, turn down the lift, and deal the top card (the final ace) face down and overlapping the three aces at D. Spread the remaining three cards in your left hand. Pick up the card at C and insert it second from the top of the packet and square. Now, there are really only 8's and 9's in the packet. Snap your fingers, and deal the four cards face up onto the table to show that the last ace has vanished.

Pick up the four face-down cards, casually transferring the top two to the bottom as you do. As you square, obtain a break below the second card. Double lift to show a black card, turn down the lift, and deal the top card (an ace) face down onto, and overlapping, the two aces at D. Spread the remaining, three cards in your left hand. Pick up the card at B, insert it second from the top of the small fan, and square. You are now going to show that the ace has vanished, as follows:

Turn up the face-down card at D, to show that the last ace has changed places with the indifferent card - and to end!

Flip the top card face up onto the packet.

Take this card into your right hand and, while holding it, flip over the next two cards, as one, onto the packet (actually onto the one remaining card). Use either a pull-down move, single buckle, or block push-off to aid you in

Afterthoughts: Go over the routine a few times. Familiarity will start it "flowing" for you. Fill in with explanatory patter, and you have a fine, anytime-anywhere, routine on your hands.

370

Roger Sherman

A Coin "Qlassic' Your right hand revolves at the wrist apparently to dump the coin into your left hand, but actually your right thumb never releases the coin. What happens instead is that the hidden coin is allowed to drop into your left hand. (See Fig. 3.) Then the cards, slightly overlapping, and the (now) hidden (beneath the cards) coin are placed on the glass. This may seem difficult, but it is quite easy to balance the coin on the rim of the glass. The cards help to keep it in place - act as the coin's "balancer." Any "talking" here is covered as you tap the visible coin against the side of the glass, saying, "This time the coin will penetrate right into the glass."

Effect: Two cards (red aces) are placed across the mouth of an empty champagne glass and a coin mysteriously penetrates first one card and then two cards to land in the glass.

The ending comes as a complete surprise, as the two aces change to two jokers.

Set-up: Two jokers are face down on your right thigh. Two face-down red aces are on the table with a half dollar hidden underneath them.

A champagne glass is mouth up on the table near the face-down aces. There's a half dollar inside the glass.

To perform: Pick up the champagne glass and dump out the half dollar displaying both to the audience. Set them both back on the table but don't put the coin back into the glass.

Pick up the red aces, clipping the coin underneath via the Dingle/Schneider Pick-Up move. The coin is held beneath the cards with your thumbtip. (Fig. 1.) Take the top ace with your left hand and you're showing both backs. Your left hand places its card onto the coin, and takes the lowermost card, as both cards are tilted downward, so that their faces are upward. The coin is hidden beneath the right-hand card. Mention the red aces.

The visible coin is vanished and lapped.

Your empty left hand presses against the cards to cause the coin to fall into the glass. I'd prefer to tap the glass and/or cards with my obviously empty right hand, causing the hidden coin to drop into the glass, as I show my left hand empty.

Place the cards face down onto the table.

Ask your spectator to dump out the coin and as his attention is misdirected, let your right hand fall, naturally, to your lap. Get the jokers into face-down dealing position, and hold them below the table's edge.

After displaying the cards, the card in your left hand is placed under the card in your right hand so that the coin is sandwiched between them. Your left and right thumbs pivot the top card so that it forms a cross with the bottom card. Keeping the cards in position, turn them face down (carefully; keep the coin firmly between them) and place them across the mouth of the glass. (See Fig. 2.)

Now, execute a simple, fairly standard, switch. Basically, your left hand scoops the two aces off the table and into your lap as your right hand brings its cards up and forward.

This is virtually indetectable when done with proper timing. Of course, any good switch will suffice.

Now, pick up the visible half dollar and apparently place it into your left hand. Really retain it in your right hand, using "your favorite method." Say that you will cause the coin to penetrate the top ace. Make a squeezing motion with your left hand; open it to show that the coin is gone.

"This time I'll make the coin penetrate UP through the cards." Place the coin into the glass, and place the face-down cards on top of the glass. Do your magical gesture, and pause.

Nothing happens, of course. Turn over the two cards, showing them to be jokers, and say, "Some jokers are always trying to louse up the act. "

Lift the top ace with your left hand to reveal the coin; transfer the card to your right hand, covering the hidden coin.

Your left hand removes both the coin and the other ace from the glass and places them on top of the card already in your right hand.

Your right thumb keeps the visible coin firmly against the back of the top card.

Afterthoughts: I can visualize how magical, and entertaining, this routine can be when presented properly.

371'

Ellipses (...)

Note to U.S.A. subscribers: Starting now, and important for next year -- whenever a subscription renewal reaches me too late, the next issue due you will have to be mailed folded in half, the way I have to mail issues out of the U.S. This is because of the post office's surcharge on size, under 2 ounces, on printed matter, for a single issue.

You'll know it because the envelope will be hand addressed instead of computer addressed. That means that you were taken off the mailing list; it takes one issue - one month to get you back on that list. Also - if your "change of address" reaches me too late, and an issue mailed to you is returned (postage due, 250 or 500), that issue will be mailed to your new address foldedâ&#x20AC;˘ What with paper and printing costs rising continually, this is a desperate attempt to cut down costs to avoid having to raise the subscription fee. I simply have no choice. I mention it here to eliminate the necessity for back and forth correspondence. Work with me; help avoid all this by sending in your renewal as soon as you're reminded - in Apocalypse, if you're a started-in-January subscriber, or by postcard if you started any other month.

And - getting your "change of address" to me in time.

It still goes on...advertisements telling you about great, new, material. A magical outfit did that, and put out a number of items in original "Stars Of Magic" format. Well done, good photographs, etc. But great? New? material... I'm afraid not. The padding goes on to tell you how great, new, and secretive the moves are...how the "inventor" was coerced into "releasing" this great material. A card location that's right out of GREATER MAGIC. I mean exactly. And, beveling the deck to hide a jogged card is not new...and so on. Sorry, but most single effects or routines out of Apocalypse are worth more than these items. I don't usually like to knock commercial endeavors, but I really am getting a bit fed up with things that smell of "rip off"...even if unintentional (to give the benefit of the doubt)...perhaps they really believe this is new material...and at $8-$9 a pop!

Charles Hudson uses Ken Krenzel's Transcendental Transpo (Apocalypse; March, 1980) with one slight change. When setting up, he places an indifferent card third from top.

Now, during performance, after the first double turnover and deal of the single card to the table, he double cuts two cards to bottom (from top). This eliminates the slip cut to center (which Charles doesn't like) as in my original description.

More from Charles Hudson: "Dear Harry; Fabulous (December, 1979 Apocalypse) is right down my faro alley. The original Finnell trick has been in my repertoire since it first appeared; and I am happy with your new variations. A suggestion for simplification: Use a 53-card deck (joker added). This makes the final checking for position of the two face-up cards unnecessary. Just do a straddle faro (in or out) and things take care of themselves.

A straddle faro is easier to do; it's easier to split the deck at 26-27 than 26-26 when it doesn't matter which is the larger 'half.' Finally, even if you do_ get a bad split (25-28 or 24â&#x20AC;&#x201D;29), just faro the smaller portion into the larger so that the same number of cards are 'left over' (unmeshed) at top and bottom (the eye can tell). The 53-card deck does not affect the rest of your instructions."

My paragraph about the fact that I never have been able to make that rice-in-jar thing work - the one where you lift jar and rice by jamming a knife into the rice - received some response. From people, two or three, who tell me that they have gotten it to work. Well... they must know something I don't. I still can't get it to work!

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 - $33-50 surface mail (U.S.A. dollars only) - $39.00 air mail - $4-0.50 airmail to Australia, Japan, So. Africa, etc. =

372 =

=

Lotayne's VOL. 3 NO. 8

THREE DOLLARS

AUG.. 1980

pocalypse COPYRIGHT 1980 by H. Lorayne, Inc

Ron Ferris The Card Cocoon

The "nest of boxes" concept has always been popular in magic. This, so far as my limited research tells me, is a new way to present that concept. The "nest of boxes" consists of ten playing cards - it's easily carried in a jacket pocket - always ready for use.

You'll need eight indifferent cards plus the two black aces, and two rubber bands. (See Afterthoughts.) The size and width of the bands is optional - you will have to experiment a bit. Place the black aces aside for the moment. Fold four of the indifferent cards exactly in half, widthwise, faces inward. Fold the remaining four exactly in half, lengthwise, also with faces inward.

â&#x20AC;˘373'

place the lengthwise cards at left and right, over the first two lengthwise cards and over the widthwise card at the lower ("legitimate" closed) end. (See Fig. 4.)

Now, you're ready to make the "cocoon."

Place the black aces face to face. Then, place two of the lengthwise-folded cards around the aces, one at each long side, covering about three-quarters of the aces' length. (Fig. 1.)

Place one of the widthwise-folded cards over the end opposite the protruding aces. (See Fig. 2.)

Now, place the last widthwise-folded card over the entire "legitimate" end. (Fig. 5-) Then, fold down the open (outer) flaps - the ones you've been keeping open, one at each flat surface of the cocoon, near the protruding aces. (See Fig. 6.) That's the basic "cocoon, " and after you form it a few times, become familiar with it, you'll do it in thirty seconds.

6

Now, wrap one rubber band around the width of the cocoon, across its center. The second band goes diagonally across the cocoon. You'll find that there's an automatic "notch," or "ledge," at these diagonal corners to hold that band in place. Getting this band on will take just a bit of doing at first - particularly if you're "doubling" it. Finally, push ONE of the black aces downward (or pull one upward) about half an inch. (See Fig. 7 to see the jogged ace and the rubber band positions. The dotted lines are mentioned in the Afterthoughts.)

You now have to place another "widthwise" card around the other (protruding-ace) end.

But - don't really; you have to leave the endopening of the face-to-face aces clear. So place one flap of the folded card under the first two "lengthwise" cards and above one of the aces (it touches the back of the ace). Bend up (open) the non-inserted flap of the folded card for the time being. Do exactly the same with another widthwise card, on the other side of the cocoon. In other words, one flap goes between the lengthwise cards and the back of the other black ace. (See Fig. 3-)

Place the completed cocoon into your right jacket pocket - the ace ends upward and the Pjogged ace on the inside, toward your body.

You're ready to perform.

U

The performance is obvious. Borrow a coin, or use your own; a large one - half-dollar size - is best. Let your spectator examine it, and mark it any way he likes. A pencil will write on a silver coin - just be careful not to rub off the spectator's initials, or whatever, as the effect continues. You can also have the date noted. And - you can use a self-sticking seal.

The remaining folded cards (2 lengthwise and 1 widthwise) are used to form another layer of the cocoon. Holding the cocoon together, â&#x20AC;˘374

Remove the widthwise card from the outer end (end toward audience) dropping it to the table. Then remove the upper widthwise card from the inner end. Slide it toward you and off. This is to make it appear as if both ends were (and are) the same. (Another way to handle this is to remove BOTH inner widthwise cards together. Simply place your right thumb on the upper one and your fingers on the lower one - and remove them together. Drop them to the table together. )

In Ron's original write-up, he simply takes the coin in his right hand and places it into his pocket. I prefer the following: Do any coin acquitment, or vanish. That is, pretend to place it into your left hand but really retain it in your right. As your attention is on your closed left hand, your right hand goes into your pocket and inserts the coin between the "black aces. This is easy because of the upjogged ace - it forms a "slide." (Fig. 8.)

Remove the two upper (on the sides) lengthwise cards. Then the outer widthwise card. If you haven't removed both inner widthwise cards already, remove the bottom one now. Since you're doing this in a rhythmic fashion, the spectators can't follow what's coming from where, anyway. Also, always keep the package parallel to the table so that the coin doesn't fall out prematurely.

8

Remove the last two lengthwise (side) cards, leaving you holding just the two faceto-face aces. You can take these two apart yourself or hand them to a spectator and let him do it - exposing the marked coin between them.

9

Afterthoughts: You can use the cocoon with a borrowed key, ring, or dollar bill have the serial number of the bill noted beforehand, and fold it, then vanish it, etc.

The cocoon can be formed with blue-backed and red-backed cards - the four inner ones one color and the four outer ones the other color.

A selected card can be made to appear between the black aces. Control the card to the top - then either place the entire deck into your pocket (in front of the cocoon). Simply take the top card and push it between the aces, etc., as Ron suggests. Or, palm it off and get it into the cocoon as you reach into your pocket for it. The card, of course, can (and should) be signed. (It can also be folded!)

As you insert the coin smartly push down the protruding aces - and the coin. The aces are pushed down until their ends are flush with the top of the cocoon. This, of course, is automatic - just push down smartly as far as they'll go.

You can put more rubber bands (I use two more) around the cocoon as shown with the dotted lines in Figure 7. These would be under the diagonal band. If getting the diagonal band from the corners to the ends is a problem for you - you might try not placing it diagonally.

The band would have to be loose enough to fit around the ends (lengthwise) without pushing down the upjogged ace. It can't be too loose or it won't look good after the aces are pushed down. Experiment. Then, the coin can be pushed between the aces on the side of this band. This idea is not workable if you want to get an unfolded playing card between the aces.

This is why you have to experiment with the rubber bands - particularly their TENSION. They shouldn't be too tight or you'll have trouble pushing the aces down and flush. They do have to be tight enough to hold the cocoon together pretty firmly.

As soon as you've pushed down the aces roll the diagonal band from each corner to the center of the ends. This, too, will take a bit of practice - it should be done quickly, no fidgeting. (See Afterthoughts.)

Immediately bring out the cocoon and place it onto the table. Remember, your attention has been on your closed left hand during the few seconds it has taken you to bring out the cocoon. Now - "vanish" the coin from your left hand.

Finally, you can get TWO coins between the aces. You'd get one coin between them - don't push them down yet - as you go into the pocket for "woofle dust," or whatever - and "vanish" the first coin. Then, when you reach in to remove the cocoon, when the second coin is supposedly in your left hand, insert that coin and push down the aces. You'd have to be a little more careful, as you remove bands and cards, not to let a coin fall out prematurely.

Direct attention to the cocoon. Be sure your hands are seen to be empty as you pick it up. Keeping the "open" end away from audience view show the rubber bands around it. (Fig. 9.)

Then remove the bands. Keep the cocoon together as you do this.

Well, play with this - do some experimenting; I think it's a heck of an idea.

â&#x20AC;˘375-

Dave Lederman

No Knot left hand turns palm toward you in order to do this. (See Fig. 4.) Your right thumb and forefinger move over to grasp this end. (See Fig. 5.) Move the end outward, away from you, with your right hand. The hand simply turns

This is an INSTANT dissolving knot. The strength of it is that you actually tie a square knot - and display it as such. It's a good quickie on its own, and can be used during a rope routine.

The rope shouldn't be too long, but that's open to experimentation. I use a two-and-ahalf foot length. Display the rope between your hands, as in (Fig. 1 ) . Note that the lefthand end points downward - toward you, actually.

All the illustrations are performer's view.

Place the right-hand end over the part of the left-hand end that lies on your left first and second fingers. To do this, your right hand moves its end to the right then toward you, then away, up and to the left, onto the left-hand rope portion, as if you were pantomiming a clockwise circle. Your left thumb holds it in place, holding it against your second finger.

The idea is to leave your forefinger free.

As soon as you've done this, your right fingers release what will now be the lower part of the loop you've formed and grasp the upper part of the loop. It's all one action, really.

(See Fig. 2.)

6 Now comes the very clean and open forming of the (real) knot. Bring your left forefinger from beneath the crossed-over end to above it.

(See Fig. 3.) With that forefinger, slowly push that end down and through the loop. Your

in place. You're displaying a real knot. (See Fig. 6.) Note that the left forefingertip is directly beneath the right upper bight of the "figure 8" (X in the figure); your left thumbtip is close to it and above it.

â&#x20AC;˘376-

Go over this sequence. You'll see that it iยง_ a clean and open formation of the knot; particularly if you do it slowly.

Your left thumb closes onto your left forefingertip, automatically grasping the right upper bight of the "figure 8" - the X area in the last illustration. Your right thumb and forefinger actually pull (to the right) the end they hold. The third and fourth fingers of each hand open, releasing whatever they're holding. That's all. The rope snaps to horizontal position - no knot! (See Fig. 7 for a stop-action view showing what the rope looks like just prior to the end of the "tightening.")

Pause, to display the knot. It is in the action of tightening the knot - pulling apart the ends - that the knot dissolves. You can do it as you (or a spectator) blow on the knot, or as you raise both hands up to about chin level.

Afterthoughts; The effect is much quicker than the explanation. After a few tries, you won't have to think about it at all.

The handling I've described is Dave's.

You can, of course, play with it and change the handling to fit the circumstances and your personality. For example, you can try it faster, slower, different angles, and different starting grips. It's up to you.

After I learned this, I tried it with a silk and a large handkerchief. Roll the silk (or handkerchief) rope fashion, and it works perfectly; it also looks good. Try it and see.

Your left thumb and forefinger do the "dirty work." They are in perfect position you don't even have to look. Here's what happens, all practically at the same time.

Remember - if 5'ou Xerox this magazine, you lessen its worth to YOU!

Doty

Lickety-Split Color Change

In Doty's hands this is perfectly clean.

I suggest you follow along with cards in hand.

The second card from bottom has to be face up.

When you're ready to do the change, get a left little finger break above the bottom two cards.

Turn your open right hand palm to spectator, showing it empty.

It is during this pushing-up-of-the-facecard action that the "work" is done. Your left hand moves (directly from the "licking" action) to beneath the deck. Grasp the two broken cards with your little finger. (See Fig. 1.)

I've lowered the left hand, and the two cards, in the figure so that you can see the grip.

Move your right hand back to the deck and take it from above; your thumbtip takes over the break. What Doty does here, instead of just showing his left hand empty, is to move the hand up to his mouth to lick the thumbtip.

There is no pause. As you grasp the two cards move them to the right, placing their outer right corners into the fork of your right third and fourth fingers. (See Fig. 2) for an exposed, stop-action, view. Note that your left thumb is automatically at the face of the deck.

Push the face card up and over the upper long side of the deck. (See Fig. 3) to see

That sounds awful in print, but it's a natural action and makes perfectly good sense because of the action that follows. What you do is push the face card of the deck over and onto (face up) the top of the deck. It would be difficult to do that with a dry thumbtip so wetting it makes sense.

this in progress. Continue until the card is face up and flush on top of the deck - it is held there by your left thumb. As the pushing up and over of the face card starts, the deck

377-

starts tilting back (top) toward your spectator. The moment .the card is in position move your right hand away a couple of inches to display the face-up card. The two hidden cards are held by their outer right corners only.

(See Fig. h.) Note the position of your left thumb - it crosses the width of the face-up card.

drop it onto the table. A face-down card shows on the top of the deck - so all appears as it should.

Afterthoughts: It's really a good color change. Eoth hands are shown to be empty before it occurs, and the left thumb lying over the face-up card makes it seem impossible that anything could be added onto the deck at that moment.

Please bear in mind that the left hand's movement is a continuous, and natural one. When done properly, it appears as if it moves to the deck only to push that face card up and around.

Doty does a repeat occasionally. He double cuts the two top cards to bottom, bringing the hidden reversed card to bottom. Then he does exactly the same color change, breaking only that single bottom card. After the change, do a double turnover, turning the two face-up cards face down, and you're clean.

Come back to the deck and let the left long side of the hidden double card slide under your left thumb to cover the face-up card.

(See Fig. 5.) Leave it flush on the card and remove your right hand slowly, showing the change. Deal off the now top face-up card and

PUBLISHED, WRITTEN, EDITED:

'Bonnie Hammond

Harry Lorayne

ILLUSTRATIONS: JOE WIERZBICKI

Ifjree Opener

Eonnie had originally titled this "One To Three." It's an "empty" hand production of one, then another, then a third, coin. (At least, that's the impression left; you actually magically produce only two.) It's very good.

Coincidentally, I was working on almost the same concept for four coins. I was "hung up" at parts until I received this from Bonnie.

One or two of the ideas enabled me to "lock in" my handling. As a matter of fact, following this, I'll give you two handlings for a one-at-a-time production of four coins. But you'd better work on Bonnie's original routine, first.

visibly bring out the one coin. You may decide to simply place them to position with your other hand at an opportune, secret, moment.

Up to you.

Have three coins (I use half dollars) in your right pocket. Reach in and get two of them into Downs (or "edge") palm, as you bring out the third at your fingertips. (See Fig. 1.)

This is the first thing you'll have to work on.

That is, getting the two coins cleanly into edge palm as you reach into your pocket to

All right; done properly, and paying attention to angles, your right hand appears to be empty except for the one coin. You can also, although it's not essential, move your right hand outward - to your right - to show an empty palm. Also up to you. Do show your empty left hand back and front.

378-

I assume you know this - I've already described it in Apocalypse - June, 1978 and December, 1979- One coin is retained in your left hand (finger palm) as the other joins the (previously) hidden right-hand coin. The two coins are displayed again, for a beat or two, on your right palm.

Then, start turning your right hand down toward your left, as if you're going to toss the visible coin into your left hand - or as if you want to blow on the back of your right hand. As it turns palm (or fingers) down, closing as it does, classic palm the visible coin. Watch your angles, of course; you can't allow the edge-palmed coins to flash.

Raise your right (closed) hand and blow on it, or tap it, etc. Clip the two edgepalmed coins with your right first and second fingers. (See Fig. 2.) A bit of practice will be necessary to get those two fingertips to CLEANLY grasp the two coins.

With your right fingers, place these two coins onto your left fist - at the thumb opening. Blow on them, as you slightly open your left hand allowing the coins to slide down and in. Open your left hand to display three coins - and, to end.

Toss the two coins into your left hand.

Toss them so that one coin lands in finger-palm position. (See Fig. 3-) When I originally worked on this idea I didn't bother clipping the edge-palmed coins as just described. I simply tossed them onto my left palm from edge palm position. Try both ways - use what's easier for you.

Afterthoughts: This is a fine opener, and lead-in, for a three-coin routine. The patter is minimal - with proper timing, just saying, "One, two, three," as the coins appear, is sufficient.

Display the two coins on your left palm for a beat or two. Shuttle Pass them (that is, do the Utility Coin Switch) to your right hand.

Harry Lorayne

After you've worked on this, read Four Opener.

Four Opener

My description for this can be briefer than it would ordinarily have been because you already know the basics from Three Opener.

There are two handlings. This is the first:

Now; toss the top two coins into your left hand - again, so that one lands ready to be finger palmed. This will take only one or two tries. Toss gently; you'll find that it's a

Edge palm three coins as you bring out one at your right fingertips. The presentation and minimal patter is as in Three Opener.

You're about to classic palm the visible coin and toss two coins onto your left palm. No first and second finger clip here. I had to invent a handling for this toss - that is, to toss two and retain one. No big deal; it's just about automatic.

As you classic palm the visible coin, your right fingers automatically curl into, or toward, your palm. Your second finger bends beneath the edge-palmed coins. As soon as it does, and as you blow on your hand, relax your thumb so that the three coins are now supported by only the side of your bent second finger.

(See Fig. 1.)

fairly simple matter to keep the bottom coin clinging to the side of your second finger.

(See Fig. 2.) It's basically a "slide out" of the two upper coins. As you toss, say, "Two" or "Two coins." â&#x20AC;˘379-

This is done as you're displaying the two coins on your left palm. It isn't necessary, for this, to toss so that one of the two coins lands in finger-palm position. Then, toss the two coins from left to right hand. Your right hand opens - automatically bringing that one coin to full back clip (between first and second fingers). The two left-hand coins join the one (classic-palmed) right-hand coin. That's "three." (I've broken it into steps for you.

In action, it's all a fluid sequence. The retained coin is at proper position for back clipping as soon as you toss the two upper coins into your left hand.)

Do the Utility Switch, tossing, one lefthand coin (and retaining the other) into your right hand. Your right hand opens to accept this coin. You're displaying three coins on your right palm. (Fig. 3.) Say, "Three" or "Three coins."

2

Now, end as in Three Opener. When you open your left hand, say, "Four" or "Four coins."

From here, either close your right hand, bringing the back-clipped coin into it - and then toss all four coins onto your left palm, to end. Or - toss directly from your open right hand to your left palm. You might prefer to close your hand, bringing the clipped coin into it - then end as before. Place the four coins, referring to them as three, onto your left fist opening, etc. Any of these endings is okay - try them all.

Second handling: This is a bit more sophisticated than the first handling. It eliminates the Utility Switch entirely, but adds a simple rear clip.

Start as explained and continue until you toss the two coins into your left hand. You're at the point depicted in Figure 2. From that position, it's a simple matter to make sure your bent forefinger is cm the retained (lower of the three) coin. Your right thumbtip contacts the edge of the coin nearest you as your first and second fingers curl farther inward toward your palm. The coin will automatically roll to back-clip position. (See Fig. k.)

Afterthoughts: I think Three Opener, and both handlings of Four Opener are all good.

Give them the little bit of work they deserve.

Once any of the handlings start to "flow," it looks quite magical. At the end of any of them, go into a routine that utilizes the three or four coins, of course.

NEXT MONTH Tom Ogden's - Five And One Michael Farmer's - Port Authority Transfer Milton's - Painted Desert Milton's - One-Hand Matrix Norman Houghton's - Trinity Tom Craven's - Head To Head Tony Econ's - Quick Sandwich Karrell Fox's - Come Forth!

â&#x20AC;˘380-

plus ,

Qreg Miller The esting. steal of evitable

<

Tf)e Humble/Arrogant

Card Trick

Lift slightly with your right hand. At the same time, your left thumb presses the projecting card onto the lower half of the deck. With your right hand, twist the cards a little to the right - in a clockwise direction. This maneuver will square the stolen card perfectly on the bottom of the half as the cards contact the base of your left thumb

effect (either presentation) is interMore interesting, to me, is Greg's a card - as you'll see. With my inediting, let Greg explain it.

Just a slight re-arrangement of the moves in this card trick transforms it from a humble peanut-butter-and-jelly sort of effect into a shorter, flashier, showoff effect. Choose the version that suits you.

Effect #1 (humble): Spectator's selected card is returned to the deck and lost by shuffling. Magician inserts a card (4H, for example) into the deck, claiming that he can put it right next to the chosen card. Neither of the cards found above and below the projecting card is the chosen one. Crestfallen, the magician takes up the "stabbing" card ('•(•H) and changes it into the spectator's card. He then spreads the deck to show the ^H reversed at center.

First, the selected card must be brought to the top of the deck by some means that you are familiar with. Double lift to show an indifferent card (assume it to be the 4H). Insert the (face-down) double card into the front of the face-down deck and under cover of the top card (spectator's card), push the 4H (with your right fingers) almost all the way into the deck. Leave it projecting less than a quarter of an inch. (See Fig. 1 for an exposed view. )

and left fingers. (See Fig. 3. In this illustration, the left thumb can't be seen, but it is resting on top of the lower half at that moment, holding the protruding card.) Take the half cleanly away to the right with your right hand. It is an invisible steal if done carefully. Place this half, face up of course, onto the table.

Remove the projecting card (top of lefthand half) and place it face down on the table beside the face-up half.

Show the top card of the half remaining in your left hand. Again, the spectator denies that it is his card. Turn this half face up and scoop the other half deck off the edge of the table onto it. Turn over the reassembled deck and drop it face down onto the table.

(The 4H is automatically reversed at center.)

By now, you are pretty glum. Pick up the face-down (spectator's) card and miscall it "The four of hearts." Of course, this couldn't be your card." Stroke its face (HL: or run it through the deck, or snap your fingers, or whatever - for effect) and turn it over to show it transformed into the spectator's card.

Finish by showing that the ^H has flown, reversed, into the deck.

Now, turn over the half deck above the projecting card(s) and drop it on the other cards. The spectator denies that the face-up card is his. (This is bad news that you take as bravely as you can.)

Effect II (arrogant): As before, magician attempts to find the spectator's card by stabbing the deck with an indifferent card ('J-H). This time, the card above the projecting card is immediately shown to be the ^H and the projecting card is turned over - it is the spectator's card!

Remove the face-up half and set it aside; as you do so, steal the face-down 4H to the bottom of this half. Here's how: It is done almost entirely with your right hand. Grasp the upper half from above, with fingers in front and thumb at rear. Your fingers and thumb are placed far to the right side of the cards. Your right middle finger must push the (upper) projecting card somewhat to the left so that it can contact the right corner of the card beneath (the 4H, projecting a quarter inch or so). (See Fig. 2.)

Proceed as before up to the point where the upper half of the deck, above the projecting card(s), is picked up with your right hand.

Perform the described steal immediately so that the 4H is shown to be at the face of this half.

When the hubbub dies down, use the two halves •381

to lever the projecting card face up. the spectator's card!

It is

Afterthoughts (HL): I like the routine, and the steal is invisible, and clean. I'd suggest that you practice it just a little bit.

The "take" of the top half deck should be done without hesitation. I would imagine that no

Allan Slaight

more than three or four practice tries should be necessary in order for you to do the maneuver cleanly and smoothly. I also assume that you'll be able to find more uses for it.

For example, you might consider using it for the end of (or during) an ambitious card routine. Play with it; I think you'll like it.

Aces Loaded

Two faros are necessary here, but only a few cards at center of each half have to interlace properly. It's quite easy. This is a good, impromptu, gambling demonstration. In Allan's words: Effect: You remove the four aces from a borrowed, shuffled, deck and after shuffling them back into the deck deal them to yourself in a four-hand round. You then lose the aces singly by cutting them into the deck and state that you will deal them to your confederate in a real poker game. The hands are dealt but the imaginary confederate receives only three aces.

You declare that you needed that last ace to complete the Royal Flush you then reveal.

Obtain a break below the top four cards at the face (do this as you spread to shew that the first ace is not in sight), place any ace on the deck and double cut again. Repeat with a four-card break and the third ace. Finally, with the cards still face up, spread out only four bottom (rear) cards to show that you've not controlled the aces to that position.

(See Fig. 1.) Square; no break held. Then spread enough cards at the face (showing that no aces are there either) to obtain a break under the top seven cards. Drop the last ace onto the deck, and do your final double cut.

Turn the deck face down at this point and shuffle, keeping the top twenty-five cards intact .

And all that with two middle-of-the-deck faros and some double cuts!

To perform: As you thumb through to remove the four aces for your gambling demonstration cull the four remaining Royal Flush cards of any suit to the bottom. Get one card below them and crimp it. Show the aces and openly drop them face down onto the face-down deck.

False shuffle, if you wish, and then fair cut until the crimp is about 13-15 cards from the top. Split the deck near the center (not necessary to cut exactly at center) and faro shuffle with the only requirement being that indifferent cards alternate with the aces.

Bring the crimp back to the same position and faro again. If you wish to showoff here, the crimp will be at about center and a one-hand Charlier Pass to position the crimp to the bottom is effective. Otherwise cut it there.

Deal four hands of four cards and reveal the aces by dealing each of your cards face up.

Drop the other three hands on top of the face-down deck and explain that when someone gains a reputation for card handling he often finds it necessary to use a confederate in a real poker game. Tell them that your partner will join the game and you'll deal the aces to him so he can win the pot, which you'll split later. Explain that this time you'll bury the aces with the cards face up so that they can keep an eye on them.

Turn over the deck in your left hand and obtain a break below the top six face cards as you casually spread them. Drop the ace of the Royal Flush suit face up onto the face-up deck and double cut to your break.

Mention that your confederate has joined the game so that there are now five players and he's sitting in the third chair. Deal the first five-hand round with only the card to your socalled confederate face up. It won't be an ace and the snickers subside when you declare that you're dealing five cards to each hand and the next four will be the aces.

Deal three more rounds and each time an ace goes face up to the third hand. Slowly deal the last round and it will be seen that you have apparently missed when an indifferent card is dealt face up onto the aces in the third hand,, Pause, then say, "It occurred to me that if those other players don't trust me, maybe I shouldn't trust my partner. So I gave myself that last ace to go with the rest of my Royal Flush!" Flip the ace face up near your hand, then reveal the other Royal Flush cards.

Afterthoughts (HL): Clean, simple, and effective. It's my kind of routine. â&#x20AC;˘ 382.

Out 7b Lunch

continued from page 3 2 3

I had been interested in memory work since I was quite young. The first memory "stunt" I ever performed was to memorize the order of a shuffled deck of cards. To relieve some of the boredom, and to do something a bit different for some of the people at The Little Club who called me to their tables at least once a week, I started to throw in a memory stunt every once in a while.

The audiences were amazed; I was amazed at how amazed and impressed they were! At first, it bothered me a bit. I thought I was doing such great sleight-of-hand stuff and their reaction to the memory work was much stronger. That reaction was usually something like, "Your magic, the sleight of hand, is great - but this (the memory feat), there's no 'trick' to that; it's really unbelievable!"

It bothered me at first, until I realized why.

They were able to relate to the memory work.

It started me thinking - perhaps I should put more time and effort into the memory work.

To make a fairly long story short - I did. I developed an act based entirely on memory, no magic at all.

Skip a couple of years, and into a Richard Himber story. If you recall, it was Himber who originally dragged me to meet Billy Reed at The Little Club, and was instrumental in helping me secure the job there. This is a similar story.

One day Dick in the mouth. He I said that other getting on the Ed most important TV

thought I looked a bit down asked what the problem was. acts, cheaper acts, were Sullivan Show (probably the show at that time) but I

hadn't been called for it. Himber whistled for a cab. Before I knew what had happened, we were walking onto the backstage area of the Broadway Theater, where the Sullivan Show was in rehearsal. The Ray Block orchestra was playing for a singer.

And, there was Ed Sullivan. Himber yelled to him. Mr. Sullivan was busy, but as I've said before, the best way to get Himber out of your hair was to get him out of your hair.

Dick introduced me to Ed. Then, he started to tell him about what I would do on the show. I wanted to do my names and faces thing.

Now, Himber usually managed to get everything just slightly off-sync. For example, when I do the names and faces, I always have the people I've met stand up. As I call their names and point to them, they're to sit down.

When Dick backed Mr. Sullivan against the wall and excitedly explained what I did, he got it just a bit wrong. He said, "Harry will meet all the people in your audience, Ed. Then, on the show, he'll remember all their names. As he calls each person's name, that person will stand, until he has the enire audience standing! " Ed Sullivan displayed a sense of humor I didn't know he hadj he threw a line I've never forgotten. He listened to Dick, and without missing a beat, he said, "I can have Ray Block play The Star Spangled Banner and get the same result!"

That gave me my laugh for the day - but it didn't get me on the show. I eventually did the show - some time later. (Next Out To Lunch.) to be continued...

Found out that Dick Zimmerman deserves quite a bit of the credit for the idea in Frozen Deckery - April, 1980 cover effect. Want to give him any credit coming to him.

^Apocalypse Variations Or Additions Ron Ferris' Ribbon Candy (Apocalypse; September, 1979) caused some comment. Seems to be a fooler. I've received many cards and letters all telling me that there's a better way to deal the four cards (when you're stopped) so that the reverse (right to left) dealing is eliminated. Frankly, I was going to mention a couple of ways when I ran the effect, but I either forgot or ran out of space - I don't remember which!

Anyway, here are two methods (these are included in notes from J. K. Hartman and Dr. E. Brum-Antonioli of Switzerland - among others): Follow the instructions exactly as described in that issue. When you're stopped, deal the next four cards into your other hand

without reversing their order. Either flip them face up onto the deck - or, put down the deck and flip them face up onto your other hand - then deal them from LEFT TO RIGHT, just as you've been doing up to that point.

The other way is: When you're stopped, deal the next four cards onto the table, away from the basic layout, face down and one at a time. Then, place the deck onto the table, pick up the four cards, and deal them face up from left to rightâ&#x20AC;˘ One of the ways I had originally intended to include is to simply second deal the first three cards as you deal from left to right turning each card face up as you (second) deal.

= 383 =

Ellipses (...)

Abbott's Magic Company, Colon, Michigan, held its first close-up convention. . .March 14th and 15th, I98O. I was the first honored guest. Kinda' nice. Greg Bordner and Mike Miller were my hosts - did a terrific job. My getting there was touch and go for a while because of a blizzard in New York City. I was shown four depressions in the earth where Greg and Mike knelt to pray!

Saw some old and some new friends...Mike McGivern and Greg Wissmueller, who continue to get tangled up in video-tape machine wires; Jack Koopmans, a young, up and coming, magician; many Apocalypse subscribers.

And, on the close-up show, Mark Brandyberry featured the knife-in-jar-of-rice thing. He does the darn thing...first time I've ever seen it work! Mark makes a big thing out of it... two assistants from the audience, and so on. Nice to see Neil Foster going strong. Tim Wright is good - I've got some goodies for Apocalypse from him. And, a pretty ribbon-ring thing from Warren Stephens.

Karrell Fox, who fell and hurt his hip, gimping along on a cane (which he continually commands to "Heel!"). Karrell is a funny man, and also "Klever Like A Fox." He'll fool you badly. His book, ANOTHER BOOK ($28.00), contains marvelous stuff...many single items that are worth the price of the book, particularly his handling of the center tear, which is the best these jaded eyes have ever seen. Karrell's given me quite a bit of material for Apocalypse... will start running them as soon as possible.

Personal gripe dep't: A couple, promoting themselves as presenting "real" magic, appeared on Tom Snyder's Tomorrow Show - five or six months ago. Can't understand it...with all the good, professional, people around - this couple is booked and sets magic back a few hundred years! It really was "amateur night." Perhaps I can understand it...with that particular show, anyway. They called me a few years ago...after hearing my credits, appearances, etc., was told that Tom v/ants people who haven't been seen before. They booked a "memory expert," who was never seen before...and hasn't been seen since. Another amateur night.

Seems that's what the Tom Snyder Tomorrow Show wants - amateurs. I guess they get what they want. Problem is, the public doesn't know it...the public thinks these are the "experts."

Poor public. (Don't holler, I know there are exceptions...there always are.)

Way back last January one subscriber thought that my reminding subscribers about subscription renewals in the magazine, more than once, was "heavy-handed," etc. Sorry; the fact is that many still "forgot," sent their renewals late, and caused much extra paperwork and cost. Many also asked for more reminders. Haven't found a v/ay to solve this yet. One way, perhaps, is to start reminding you now...get ready to send in your renewals. Will remind you officially, and more definitely, in the October issue.

The French magician(?) who put out a pamphlet containing my effects (including my Magician Vs Gambler) in French (my name is nowhere to be seen) isn't fooling anybody. At least, I hope not. God (or somebody) protect us from the blatant "takers."

Mentioning Karrell Fox reminded me...takes me back many years, and I'm sure that Karrell won't remember it. Abbott's opened its showroom in New York City (I think it was at 200 West 42nd Street, but don't hold me to it) somewhere around 1946-1947. I was there on opening day.

Karrell was behind the counter - first time I ever met him. Someone mentioned Out Of This World and I said I'd never heard of it. Karrell immediately demonstrated it for me. It "blew me away!" Bought it instantly...thought twice about spending a buck in those days.

I ran home...read it, practiced it. That night, I did it for Renee...we weren't married at the time, and she still thought I was a bloody genius (because of my magic). Well, I excitedly performed the entire routine, just as Karrell had done it for me, and looked at her expectantly. She said, "Well, you must have had the reds and blacks..." and proceeded to describe the exact method! She has that kind of mind...her attitude, when I showed disappointment (after all, it had cost me a dollar!), was, "How else!?" Interesting; I didn't perform it again for a long while...thought it was too obvious. Afterward, I did of course...and fooled literally thousands with it. It also led to my creating Out Of This Universe, which I'm told has become, sort of, a classic.

To those who think putting out Apocalypse is a "snap" - I not only write every word, make every decision, keep all the records, do much of the mailing, lay out all the money (like thousands of dollars at one pop for paper - if I want to keep the paper the same), and more but I also physically lay out the entire issue, every issue. A snap!?

APOCALYPSE is published every monti. by Harry Lorayne, ati 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.

384

Lotayne's VOL. 3 NO. 9

THREE DOLLARS

SEPT.. 1980

pocalypse f COPYRIGHT 1980 by H. Lorayne, Inc.

ISSUE NO. 33

I've seen Tom perform this routine.

It's quite magical; it entertains and fools. The routine consists of penetrations and changes of a $1 and $5 bill.

There's some preparation involved, but once you've made them up, you can use the gaffs over and over again.

You need three crisp $5 bills and two crisp $1 bills.

Fold each bill exactly in half across its width. Cut one $1 and one $5 bill along the crease. Turn these four half bills, and the other whole bills, face down. Carefully glue the right half of the (cut) $5 bill onto the left side of the whole $1 bill. Glue the right half of the (cut) $1 bill onto the left side of one of the whole $5 bills.

Trim all edges neatly so that they all line up properly from all directions, whether the bills are face up or down or folded in half.

torn ogden 385

Flip over the entire package. To avoid re-positioning after the turnover, turn the package this way: With your palm-down right hand, grasp at the inner right corner and turn not directly away from you and not directly to your right - but a combination of both. This is difficult to explain, but this will help the lower side of the package ends up as the right side after the turnover. The reverse side of the (gaffed) $1 bill is now upward, properly facing you. (Fig. 5-)

Since a $5 bill is slightly larger than a $1 bill, this trimming is necessary. (Fig. 1 shows the reverse sides of the two prepared bills.)

The unprepared $5 bill is folded in half, face inside, and placed into your left trouser pocket - crease uppermost. The two unused cut halves can be kept to make up another set perhaps; they aren't used for this set.

Performance: Hold the $5 bill, open and face up, cupped in the palm of your left hand.

The hidden gaff (half a $1 bill) is on your palm; the ungaffed portion of the open bill extends back toward you. Place the $1 bill face up onto the top part of the $5 bill at a 90-degree angle. The gaffed half of the $1 bill is lying on top of the gaffed half of the $5 bill. The ungaffed half of the $1 bill extends to your right. (Fig. 2.)

With your right fingers, pull the $1 bill to the right (as your left fingers hold the other bill at its inner left corner, keeping it stationary). Do it fairly slowly; it appears as if the $1 bill is penetrating the $5 bill.

It may not appear that way to you at first, but it does to the viewer. (Fig. 6.) After the bills clear each other, with a slight adjustment of grip, your left palm is cupping what appears to be a $5 bill, and your right palm is cupping what appears to be a $1 bill.

Your right hand folds the loose (lower) half of the $5 bill up and onto the $1 bill.

(Fig. 3.) Then, fold the loose (right) half of the $1 bill to the left onto the (now) top half of the $5 bill. (Fig. 4.)

Turn over both hands and rub the folded bills against the outside of your trouser pockets. Keeping your hands palm down, move your fingers off the bills revealing that they've changed places. (Be sure to stress which bill â&#x20AC;˘386-

palm down to rub the $5 bill on the outside of the pocket. This is the same as for the change you did before. Remove your fingers to reveal that the $5 has changed to a $1, as your left hand comes out to show the $5- Open and display both bills.

is where before this change.) Since each upper visible half is now the un-gaffed half, you can open each bill. Your right hand holds an open, face-up, $5 bill and the open, face-up, $1 bill is in your left hand.

You are now going to repeat the entire process, except that now you start with the $1 bill in your left hand. It's done exactly as before - the hidden gaff is on your left palm, etc. When you're familiar with the routine, you'll see that if you revolve the folded $1 bill immediately after the "rubbing" change you can then open it (ungaffed half is flipped downward) and be in correct position. So, repeat, up to the point where (this time) the $5 bill appears to visibly penetrate the $1 bill.

Do bill on $5 bill hand is

That's the end of the routine. You can flip open the left bill, show both sides, place it with the folded right-hand bill, and place both of them into a pocket.

Afterthoughts: You'll have to make this up, learn it, and perform it, before you realize its effectiveness. The changes are startling, and the impression left is that both sides of bothbills have been seen. The patter is explanatory, fill in your own. The entire routine should be done at a brisk, continuous, pace. Tom tells me that the penetration move is used with permission from Paul Diamond.

Your right hand is holding the folded $5 bill. Your left hand places its folded $1 bill (careful not to flash the underside) into your left trouser pocket. Exchange this, in the pocket, for the ungaffed $5 bill. Don't remove your hand, yet.

As your left hand goes into the pocket, your right hand, cupping the $5 bill, turns

Michael Farmer

the penetration again - with the $1 your left palm. As you slowly pull the to the right, the bill in your left also seen to be a $5 bill!

Port Authority Transit

The effect, basically, is that one selection vanishes from between two jacks. A second selection does not vanish, but changes to the first selection. The second selection is revealed face up in the face-down deck.

If he chooses the card on top of the right-hand portion, your left thumb "Biddies" the card onto the left-hand cards (partially) and your right hand uses its cards to lever it face up onto the left-hand cards.

Openly remove the two black jacks and place them face up, and squared, on the table to your right. Assume the JS is on top of the JC.

Your right hand (still holding its cards) moves to the tabled jacks and slides the top jack (JS) slightly to the right. Your left hand thumbs off the face-up selection so that it goes face up between the two jacks. The spectator is asked to remember his card (assume it's the 7H).

Shuffle the deck and hold it, from above, in your right hand - fingers at front, thumb at rear. Your right forefinger "kick" cuts about a third of the deck into your left hand.

Your left thumb immediately "Biddies" cards, one at a time, from the right-hand portion onto the left-hand portion, as you ask your spectator to say "stop" at any time.

Re-assemble the deck by placing the righthand cards onto the left-hand cards. As your right hand reaches for the three-card sandwich, your left little finger secures a break under the top card of the deck. You now execute Rick Johnsson's "Empty KS" (which appeared in Epilogue ).

As your right hand brings the "jack sandwich" over the deck for the purpose of squaring it, steal the top card of the deck to beneath the sandwich. You have four cards in your right hand - JS, selection, JC, all face up, and an indifferent face-down card.

This four-card packet is held, from above, in your right hand - thumb at rear, fingers in front. Your left thumb peels the JS onto the left-hand cards in an outjogged position. The selection is peeled onto the deck in alignment with the deck proper. The JC (and the indifferent card underneath) goes onto the deck in an injogged condition.

When he stops you, ask him which card he wants, "This one or this one." Gesture first with the right-hand portion, then with the left-hand portion. The selected card must end up face up on the left-hand portion. If he chooses the card on top of the left-hand cards, your left thumb pushes that card partially to the right and your right hand uses its cards to lever it face up onto the left-hand cards.

(See Fig. 1.)

Apparently square the cards and remove them, like this: Place your right fingers on the JC at about its center. Your thumb comes to rest at the rear end of the double card and â&#x20AC;˘387-

separates the JC from the indifferent card below it, establishing a break between these two cards. (See Fig, 2.)

on the left-hand portion. As you flip the selection face down, execute the "drop switch," releasing the two "broken" cards. (Fig. 4.)

Your right thumb pushes forward the two cards, as one, until they are flush with the selection. The JC, the selection, and the indifferent card are all flush with the deck at this instant. (See Fig. 3.)

VJithout a pause, your right hand, and its cards, moves to the tabled jacks and slides the JC to the right, almost completely exposing the face-up JS. This should surprise those who thought you had hidden the first selection.

Relax your thumbtip, releasing the indifferent card and leaving it flush on top of the face-up selection. Without hesitation, your right thumb continues pushing the JC forward until it is flush with the out jogged JS. The jacks are now re-gripped by your right hand at the upper right corner - thumb on top and fingers beneath. As the jacks are moved away from the deck, your left hand tables the deck face up.

It appears as if you are holding a threecard sandwich, but the selection has been secretly stolen.

Your left hand thumbs the new selection face down between the jacks. Your right hand picks up the sandwich and goes through the motions of the Empty KS move, but no switch is made; really show three cards. "Remember, we are using the jack of clubs, the face-down (name the second selection), and the jack of spades." Again, as you talk, you're reversing the order of the three cards.

During the actions of the move, you can say, "Here's a three-card sandwich. The jack of spades, the seven of hearts (selection), and the jack of clubs. Now watch."

After tabling the deck face up, bend the (two, supposedly three) cards with both hands creating a "cracking" sound. To reveal the vanish (and this is geared for magicians) spread the two jacks a bit surreptitiously, making it look as if you're hiding the selected card. "Look; it's gone!"

Your left hand tables the face-down deck.

Square the sandwich, bend the cards as before, and say, "Watch!" Spread the cards. Act surprised when a face-down card is still between the face-up jacks.

Square the jacks and carefully place them face up to your right. "Let's do that again."

Pick up the deck and hold it face up in your right hand, from above. Your right thumbtip obtains a break above the two bottom cards (which are face to face).

Then say, "No; I really did make the (name the second selection) vanish because this is the first selection, the seven of hearts!"

Turn over the sandwich to show that this is so.

To end, ribbon spread the face-down deck to reveal the second selection - face up!

"Kick" cut a third of the deck into your left hand and have a second spectator say "stop." Proceed exactly as with the first selection, the only difference is that the deck is face up, When you're stopped, again ask which card he wants and this card must end up

Afterthoughts: This has been, of necessity, a fairly long description. The routine is really quite short. You have to familiarize yourself with it before you can see how smoothly it flows.

Scotty York's Modernized Cap & Pence (Apoc, Jan., 1980) received a great response. Entire set-up available directly from him ($30.00) - Aj.769 W. Braddock Rd. #200, Alexandria, Va. 22311.

PUBLISHED, WRITTEN, EDITED:

Harry

Lorayne â&#x20AC;˘388'

ILLUSTRATIONS: JOE WIERZBICKI

Norman Houghton

Trinity tice tries, that tendency is overcome. Norman doesn't claim credit for this (first display) maneuver; he tells me that he's seen Francis Haxton use something similar.

I like this very much; particularly the handling for showing the second card. What this is, "basically, is a handling for showing three different cards to be all the same card.

Unlike most previous methods, this one enables you to place each card onto the table after it's shown.

He does claim credit for the next piece of handling, and this is the one I particularly like. You're going to turn over the top card (of the two; the 6C) just as you did before.

But - this time your right forefinger moves to behind the card. (See Fig. 2.) The card is displayed with its inner end flush with the outer end of the bottom card.

You're holding three face-down cards in your left hand in dealing position. Assume that the center card is the 6C and you want to show each card a_s the 6C. Your right hand approaches and takes the top two cards, as one, at their outer ends - first, second, and third fingers below and thumb on top. This double "take" is easy if your left finger(s) buckles the bottom card just as your right hand reaches position. Norman likes to get a break above that bottom card ahead of time. Do whichever is easier and/or natural looking for you.

Tilt your left hand forward until both cards are almost, but not quite, vertical. Almost automatically, your right forefinger rests on the back of the bottom card and your right thumbtip contacts the bottom card's inner end and its face. (See Fig. 3-) Note that your left forefinger is curled around the outer ends.

Without a pause, of course, turn the double face up with a swivelling motion, its inner end maintaining contact with the back of the bottom card. The 6C is displayed with its inner end resting on the bottom card - it is at about a 45-degree angle to that bottom card.

(See Fig. 1.) This method of display is important because you'll be showing the next card in about the same way.

The double card is turned face down with the same swivelling motion, the inner end "riding" along the bottom card's back. The action will clear up frr you if you think of the double card as being a paint roller with which you're painting the back of the bottom card.

It now appears as if you're placing the 6C onto the table with the first (?) 6C. Here's what actually happens - and there's a persistence-of-vision aspect to it (after some practice) that makes it a fine illusion. Your right thumb and forefinger close to grasp the bottom card's inner end and move forward with it. This automatically causes the outer end of the 6C to also move forward - and its inner end pivots on your left forefingertip, causing it to start turning (end for end) face down.

(Fig. k is a stop-action view about three-quarters of the way through this turndown.)

As the double is turning face down, it comes momentarily flush with the bottom card and at that moment your right fingers push back the lower card (6C) of the double, releasing it so that it lies on the bottom card. Just in case that card doesn't fall exactly flush, or aligned, with the bottom card - you can "shade" it by doing a left-hand wrist turn (toward you and downward) so that the backs of the left-hand cards go briefly out of sight.

There are no pauses in action, of course.

Your right second fingertip releases the outer end of the 6C (See Fig. 5) as your right hand continues its forward movement, placing the 6C(?) to the table. (Fig. 6.) Your right hand returns and turns the remaining card, displaying it (it's the 6C, of course) in a similar

Your right hand doesn't pause at all; it moves forward and places its card face down to the table. There's a tendency here (at least, there was for me) to turn that right-hand card face up as you move it toward the table. Obviously, you can't do that; after a few pracâ&#x20AC;˘389-

rapidly and not too slowly. The display and switch of the second 6C is good. Obviously, the sequence is not a routine or effect in itself - it should be used within a routine.

manner - and places it with the first two cards.

Afterthoughts: You'll have to try this sequence a few times before it starts to flow.

It should be done smoothly, fluidlyj not too

Norman notes that during the first display a large portion of the back of the lower card is exposed, whereas during the second display the back of the lower card is completely covered. Although it's possible to make them both look exactly the same, I don't think it's an important, or noticeable, discrepancy.

6

Milton

Painted Desert sound because you're working on a pad. (See Fig. 1 for the situation at this moment.

There's a coin on the surface under each hand, and a coin classic palmed in each hand. These can't be seen in the illustration, nor can they be seen by your spectators.)

I'm making this a separate item because it's good enough and pretty enough to stand alone. But, it's an obvious lead-in to a matrix routine. That's how Milton uses it; he goes directly into One-Hand Matrix, which follows this. You need four coins - half dollars or English pennies, two playing cards, and a close-up pad for a working surface.

Two coins are classic palmed in each hand.

The two cards are face down on the pad, next to each other, ends facing you. Throughout this quick sequence, both hands work and move together. Move to the cards, grasping them at the outer ends, thumbs on top, fingers underneath. Turn over both cards, simultaneously, end for end, toward you. Pause; cards are face up. Repeat exactly, turning them face down.

The first "move" happens now, and it's the one that will require some practice. You turn the cards face down but don't release them.

The heels of your hands move downward to rest on the working surface, in the natural conclusion of the turnover. Your thumbtips are still beneath the (inner) ends, all four fingers of each hand on the ends. AS you reach this position (you've turned the cards face up to display, now you've turned them face down again), relax your hands and allow one coin to drop onto the pad from each hand.

Move the cards backward, toward you, to cover the dropped coins. Release the cards as you continue to move both hands toward you.

You're displaying the cards' backs, remember.

Without an extra pause, move back to the cards.

AS you do, allow the palmed coins to fall onto the second and third fingertips of each hand.

Grasp the cards at their inner sides by inserting your forefingertips beneath them.

(Your hands turn almost back to back. ) Your thumbs give you leverage by resting on the backs of the cards. (See Fig. 2.) Lift both cards as your thumbs move onto their faces.

(See Fig. "}.) Push down with your thumbs as

That's what you'll have to practice dropping only one coin from palm position from each hand simultaneously. Milton practiced by palming four coins in each hand and dropping one at a time. And, of course, there's no "390"

above (north of) the tabled coins, place them onto the surface, dropping the hidden coins as you do - simply relax your second fingers; you don't release the cards. Without a pause, slowly move the cards outward (to left and right) in a "paint brush" movement, to reveal the third and fourth coins. (See Fig. 6.) The sides of the cards brush over (touching) the coins. It's a pretty reveal.

you turn your hands palm up. (See Fig. 4.)

Remove your thumbs completely - the cards are held by your first and second fingers only.

The hidden coins are held, beneath the cards by your second fingers. (I've broken this pick up and turnover into steps for teaching purposes. In action, it's a continual flow.)

6 Afterthoughts: It's fast and good. The entire thing is performed in a continuous flow of action. Practice the dropping of one coin from each hand, and the following pick up-reveal, for smoothness. Then, you can go directly into One-Hand Matrix, which follows.

To the spectators, you've simply removed the cards to reveal the magical appearance of two coins. Move the cards slightly to indicate these two coins. (Fig. 5.) Move the cards to

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

Milton

One-Hand Matrix

After producing the four coins, as in Painted Desert, leave them in square formation, and take two more cards from the deck. For teaching purposes, call the coins 1, 2, 3> ^ in this order: ,, ,

All right; approach coin #1 (upper right) with the spread. Allow the top card (left end of spread) to slide off (just release with your right thumbtip, moving that thumbtip onto the second card) onto the coin. (See Fig. 1.)

Milton talks about a one-armed magician he once met, and does the entire routine with one hand behind his back. The four face-down cards are slightly spread in your right hand.

They must spread to the left - that is, away from your right thumbtip. This will clear up as you look at the illustrations. And, with a bit of practice, you can spread them with the one hand. If you don't want to practice that, use both hands to spread, and then talk about the one-armed magician.

Move downward to coin #2 with the (now) threecard spread. As you move onto the coin, your â&#x20AC;˘391-

side) onto these coins, loading the hidden co:.n above them - north of the left coin. Discard the face-up card; toss it off to your left.

(This is a pretty sequence! ) In order to cover the just-loaded coin, the card does no 0 completely cover the two original c e s . T t doesn't matter. (See Fig. 6.)

second and third fingertips go under the coin's right edge and hold it against the two cards as your thumb moves off the top card onto the second card and allows the top card to slide onto the coin(?). (Fig. 2.) It looks exactly as it did for coin #1.

Move to position #h (lower left) and do the Pick-Up Move. The coin has gone. Move to position #3, and repeat the loading action.

The only difference is that, this time, the tabled card is broadside (a long side) toward you. Do the action exactly as before - it works exactly the same. Be sure to bend up the outer side of the held card (it's almost automatic) to "shade" the stolen coin.

Three coins are revealed at position as you turn over both cards. Place the face-down card onto these three, loading the stolen coin (load it above, north of, the right coin - the obvious space for it). Toss the face-up card onto, or near, the first face-up card.

Move to coin #3 (upper left) with the (now) two-card spread (and the stolen coin), load the stolen coin to the right of coin #3 as you allow the top card to slide onto, and cover, both of them. Finally, move down to coin #k, and drop the remaining card onto it.

This entire "covering" sequence is done in a slow rhythm; the steal and load can't be seen if you do it properly.

Pause for a beat. Then, snap over the card at position #2 to show that the coin has gone. Use this card to flip the card at position #3 over and to the left - to join the first two discards - and to reveal the four coins. (Fig. 7.)

Now, move to card-coin #1 and do the PickUp Move (Schneider-Dingle; described in Apocalypse - April, 1978 and August, 1978).

Twist the card so that a long side is toward you and do the pick-up at the same time.

(Fig. 3.) The coin has vanished.

Move to position #3 (upper left), lay the back of the card you're holding onto the tabled card - back to back. Your second finger reaches out to the tabled card's outer end and lifts that end. This is easy because when you place the held card onto the tabled card's inner-end area, that tilts the outer end up off the surface - the coins beneath it act as a slight pivot point. Also, the held card's outer side is bent upward so that it "shades" the stolen coin. (See Fig. h. )

Afterthoughts: This is as pretty and deceptive a matrix routine as any I've seen.

It's clean and direct. Give it the time and practice - to gain the smoothness - that it deserves.

Turn over both cards - toward you - revealing the two coins at that position. (See Fig. 5.) The face-down card is placed (broad-

NEXT MONTH Phil Goldstein's Abacus

Robert L. Brooks' Ring Through Rope

Bob Farmer's Rate Of Exchange

Paul Cummins' Oiled And Watered

Barry Govan's J-A-W-S

Greg Wissmueller1s High Spread

Obie O'Brien's Proof Of The Pudding 3921

plus...

Tom Craven

Head to Head If your opponent wants to draw, it would be only to draw to a royal flush. He'll see, immediately, that he can't do that - you've blocked it by taking either all the jacks, queens, or kings. If he's a really shrewd poker player, and thinks ahead (which is unlikely under these circumstances) he may discard his aces and draw a straight flush - but, the highest straight flush he can get would be up to, say, the ten - if you took four jacks. Then you beat him by drawing a straight flush to a jack.

No trick here. It's a puzzle, or an "I'll 3etcha." Tom told me that it was shewn to him "by a layman. You need a good poker player (or someone who thinks he's a good poker player) as your opponent. You "bet" him as follows: You will play two hands of 5-card draw poker, head to head. You will deal the first hand and he will deal the second. The rules are these: Each player takes any five cards he likes. Nothing is wild. There is no limit on how many cards can "be discarded and drawn.

In other 'words, either player can discard and draw from one to five cards. All cards are dealt face up.

So, for the first deal, you tie him if he takes a royal flush, and beat him if he takes anything else (four of a kind, usually). The only way he can beat you during this first deal is if he takes the four tens originally - and that won't happen unless he knows this.

There are no suit values. That is, a royal flush in spades is no better than a royal flush in diamonds. One player cannot, of course, draw from the other player's discards.

The bet: You will either tie him or beat him on the first deal, and you will definitely beat him on the second deal.

Now, for the second part of the bet. It's his deal. You take the four tens and any indifferent card. If you want to throw in a "red herring," take an ace for the extra card; it really doesn't matter. He can't win once you take the four tens.

Let me tell you, here, that the second part of this (second deal) is not a new idea.

I saw it in print many years ago. The addition of the first deal, I believe, is different. In any case, I did it for the "boys" in New York City, and it started hours of discussion. That, I think, makes it worth recording here .

What he'll do, most likely, is start to take a royal flush, and realize that he can't, because you have all the 10"s. He then has no choice but to take four aces, or four queens, etc. Or - a shrewd player will think of a straight flush. But, the highest straight flush he can take is 9-highÂť

Shuffle the deck, and turn it face up.

Either ask your opponent to tell you the hand he wants and give him those five cards, or as I prefer - ribbon spread the face-up deck and let him take any five cards. (Remember, it's your deal so he takes his hand first, and discards and draws first.) Now, if he knows anything about poker, he'll take one of two hands, either the four aces or a royal flush.

Tom tells me that he's done the thing over fifty times, and not once has the spectator taken anything but four aces (and any indifferent card) or a royal flush. (In my Afterthoughts, I'll discuss other hands your opponent can, or might, take.)

All rightj the higher four of a kind he takes, the higher straight flush you can draw to. If he takes four aces (if you took an ace as your indifferent card he couldn't do that), you draw the 9, J, Q, K to match one of your tens for a king-high straight flush. If he takes four kings, draw the 8, 9, J, Q to match a ten, for a queen-high straight flush. If he takes four queens, draw the 7, 8, 9, J to a ten, for a jack-high straight flush. And if he takes four jacks, draw the 6, 7, 8, 9 to a ten, for a 10-high straight flush. And, as I've told you, the highest straight flush he can draw (five cards) is 9-high.

Okay; the only way he can tie you is with the royal flush. If he takes that, you simply take a different royal flush. Ask him if he wants to draw. Of course, he'll say "no," he stands pat. So do you; you've tied.

If he takes the four aces - you take either four jacks, four queens, or four kings.

Do not take four tens - that would "tip" the second part, as you'll see. Obviously, if he takes the four aces and a king, you can't take four kings for your hand - take four jacks or four queens. The single indifferent card should be a 10-spot or a jack, queen, king according to the four of a kind you take. (This isn't essential; just saves time on the draw.)

If he takes a 9-high straight flush right off the bat (instead of four of a kind); the highest he can take is still 9-high. If he does that (which is unlikely) you draw the A, K, Q, J to one of your 10's, for a royal flush.

He can't win once you take the four tens. So, you've won the bet!

Afterthoughts: The point is that, under the circumstances, your opponent will take either four aces or a royal flush the first time - when he has first choice. You tie or beat him. After I showed this around, I received a few calls from friends, telling me that the opponent can win if he originally takes, say, four jacks and a 10-spot on the first deal, when he has first choice. Or, if he takes a full house - three jacks and two 10*s or three 10's and two jacks, covering all four suits. Not so - he still can't win. (No player would do this - but, for discussion purposes...)

Ask him if he wants to draw. In most cases, since he sees that he's got you beat, he'll stand pat. You discard three or four cards, and draw to a straight flush. For example ; you originally took the four jacks and the QC. Keep the JC and QC and draw the 9C, IOC, and KC - straight flush to the king. A straight flush beats any four of a kind.

"393-

matching 10 and jack. The best he can draw to is four aces or, again, a 9-high straight flush.

You draw to a 10-high straight flush to win.

The reasoning is the same if he originally takes three 10's and two jacks.

Incidentally, this entire thing can be used as a lead-in to a sleight-of-hand poker demonstration. Keep your eyes on a good hand that's drawn then, as you gather the cards, control that hand - and take it from there.

Your lead-in patter might be something like: "The truth is that, after years of practice, I can beat you no matter what. Watch...!"

My answer to these hands: If he takes four jacks and a 10-spot: You take the three remaining 10's and the 9 and queen of the suit that matches his jack-ten of the same suit.

Then, the best he can do on the draw is four aces or a straight flush to a 9. You beat him with a straight flush to a 10. Or - he'll draw the four aces; you beat him with any straight flush.

If he takes three jacks and two 10's: You take the one remaining jack, the two remaining 10's, and the 9 and queen to match his

Tony Econ

Quick Sandwich in the interest of not flashing the face-up card on top of the lower half.

Sometimes a simple concept can be a pretty good fooler. This "took me in" for a moment when Tony did it for me. You should be working on a close-up pad, or any surface with a bit of "give." Let your spectator shuffle the deck, then let him select any card. It's as he's looking at, and remembering, his card that you have to do a bit of preparation.

That preparation consists of reversing the two bottom cards. If you prefer, you can have those two cards reversed before you start - before the card is selected. In that case, of course, you can shuffle the deck - keeping those cards in place - but you can't let the spectator shuffle.

Use any reverse you like. The Braue Cut Reversal fits just fine. Start with the deck held face up - break the top two cards, then cut the bottom half of the deck onto the top, turning it face down in the process. Then cut to the break and bring that half onto the top, turning it face down. The two bottom cards of the face-down deck are now face up.

Ask your spectator to place his card face down onto the working surface. As he does, secure a momentary left little finger break above the single bottom (reversed) card. Then cut the deck, re-securing the break. The situation is - you have a break at center, between two face-up cards.

Your right hand places the top half onto the tabled (selected) card and, without releasing, picks up the half deck AND the selected card. That's why you need a surface with a bit of "give;" no fumbling as you pick up. Place the right-hand half back onto the left-hand half - reversing the "wrist turn" action of your left hand. Again, you don't want to flash that face-up card.

As you make a remark about losing his card into the center of the deck, perform the following sequence - which takes a second or two to perform, but will take a bit longer to describe - since I have to break a flow of action into steps.

That's all; the work is done. Do a facedown ribbon spread. Two face-up cards have sandwiched the face-down selected card.

Afterthoughts: Get the wrist-turn action down smoothly, and this is fast and good. Of course, you can have two mates selected first, then pretend to lose them into the deck as you control and reverse them to bottom. Then have a card selected, etc. Or; let the spectator name two mates - say, the two black aces. As you locate and remove them, get the two red aces to the bottom, and reverse them. Do the same sequence with the two tabled black aces.

The face-up red aces have sandwiched the facedown black aces. And so on.

What you're about to do is to place the top half of the deck onto his tabled card, but - if you simply took that half (up to the break), you'd expose a face-up card. So, what you have to do is a wrist turn of your left hand, turning the hand palm down and the remaining (lower) half deck face up. Tony suggests that as your right hand grasps the top half from above, your left hand starts to move the inner right side of the lower half downward. (See Fig. 1 for a rear view.) The outer left corners of the two halves are the last to separate. (See Fig. 2.) At that point, of course, your right hand has already started to move the top half to the table. This is all

While playing with this I came up with my own method which completely eliminates the wrist turns. On the other hand, it necessitates two extra sleights - my HaLo Cut and a bottomâ&#x20AC;˘394'

position for a bottom-card buckle. As your right hand picks up its half and the selected card (it never really lets go) it places it to beneath the left-hand half. Your left forefinger buckles the bottom card of its half as you do this. The right-hand half goes above the buckled card. Square and give the deck one complete cut. You're all done.

card buckle. If you can do these two sleights, this is quite "clean." For the index, call it Quick HaLo Sandwich.

The set-up and preparation is exactly the same. That is, the selected card is placed onto the table as you reverse two cards at bottom; that's all. Do my HaLo Cut, placing the righthand half onto the tabled, selected, card.

Try this - it's neat, and it flows.

The left-hand half should be in perfect

Karrell Fox

Come Forth!

Karrell, as you know, is a funny man.

There's nothing really new in this quick effect, but it gets a laugh and, of course, fools the spectator as well.

"Ah, that's right. You ordered it to 'come fourth.'

Count down to the fourth card, and turn over that one."

He does and, of course, it's his card.

Let your spectator select any card. As he's looking at, and remembering, it get a left little finger break beneath the top three cards of the deck.

Afterthoughts: Try itj it's fun. You can, incidentally, accomplish the same thing using Tilt instead of the Bluff Pass. And here's that little bit of finesse for the Bluff Pass. This is for the regular sleight - where your right hand removes only one card.

For the replacement of the selected card do the Bluff Pass, lifting only the top three cards with your right hand. I have to assume that you know this sleight, but here's a quick description. Riffle down at the outer left corner of the deck with your left thumb, asking your spectator to stop you.

You riffle down with your left thumb, and the spectator stops you. When he does, hold the separation with your thumb, and turn your hand clockwise until it's thumb up, and the left long side of the deck is upward. The thumb separation at center deck is also upward.

As you turn your hand, say, "Right here?"

When he does, your right hand, from above, lifts only the three cards above the break a_s your left thumb releases the separation it has made, and your left hand moves toward the spectator. The back, and fingers, of your right hand "shade" the fact that it's holding only three cards. It appears, of course, as if you have split the deck at the "stop" point. The selected card is replaced onto the left-hand half(?). Check my Afterthoughts; I'll give you a bit of general finesse for this sleight.

Then - turn your left hand, and the deck, back to parallel-to-floor position AS your right hand takes the top card of the deck in the usual Bluff-Pass way. This adds a retention-of-vision aspect to the move that, I believe, makes it a far better sleight than it was before.

Replace the right-hand cards as if you're replacing a half deck. No shuffles here - just place the deck onto the table. Ask the spectator to name his card. Then say, "All right; please look at the deck, and say, 'Come forth!'" If he doesn't say it, keep telling him to - until he does.

It's easy to do when you remove only the top card. For a three-card break, the full base of your left-thumb area has to hold the three cards down on the deck at the inner left corner so that the break or separation isn't seen - it's not quite as easy. Or, you can belly crimp the inner ends of the three cards; then you can grab them without a break.

The spectator says, "Come forth!" Ask him to turn over the top card. It isn't his. Replace the card to the top, and say, "What did you say just a second ago?" The spectator answers, "Come forth!" If he doesn't say it right away, prompt him (or her) until he does.

Even if you don't want to use the finesse for Karrell's effect, I wanted to mention it here anyway. If you use the Bluff Pass at all, it's a good thing to know.

Ellipses (...)

Los Angeles musings: Had to make a quick trip to the west coast to tape the That's Incredible TV show (ABC). It's aired by now (April 21). No big deal; typical television - spent 6-7 hours at the studio to do 5-6 minutes on the air.

I arrived in L. A. (after sweating out the traffic mess getting to Kennedy Airport because of the transit strike in NYC) at 10PM on a Wednesday evening. My friend Dennis Marks picked me â&#x20AC;˘395"

up at the hotel and we went to the Magic Castle - to have a few drinks and see some old friends.

I was wearing a pair of what I guess could be considered jeans - but are really tailored, creased, trousers made of denim. That's what I'd traveled in. Because it was late (more so for me because of the time change), I just changed from a turtleneck to a custom made shirt, tie, and a quite expensive European jacket. The moment we walked into the Castle, the girl at the desk, the "fashion coordinator," said, "We have a dress problem here; no jeans allowed." I didn't feel obligated to explain to this young lady that these were creased, regular, trousers simply made of denim. Eventually, Dennis called someone who accepted "responsibility," and took me inside. Whew!

Must have really caused a stir, because the next night, after taping the TV show, I called the Castle to say I'd like to come over. Spoke to that night's manager, who said it was no problem, but would I please be careful about the dress code - no jeans allowed! Seems I've created a conversation opener.

"Holy Sweatshirt!" If I were wearing a $40.00 polyester suit and a $10.00 nylon shirt I would have had the proper uniform - no problem at all! I don't wear polyester suits and nylon shirts - got a problem. (I've nothing against those who do wear them - it's just that I don't.)

Chic is in the eye of the beholder. My wife, Renee, is one of the best-dressed women I know don't think she'd be allowed into the Magic Castle; she wears pants when we go out - with other chic people - for a "chic" evening. The "fashion coordinators" at the Castle may or may not know that "chic," sophisticated, women wear pants for evening wear now - in Paris, London, Monte Carlo, St. Moritz, St. Tropez,, etc. Reminds me of the time, years ago, when an "expensive" restaurant on a Caribbean island insisted I wear a tie - over my turtleneck! I did - that was okay so far as they were concerned. Looked like an idiot - was just making a silly point.

Don't misunderstand; I'm not arguing with the Magic Castle...I love 'em, and always enjoy visiting. They have their rules and policies and they're obviously doing something right they're tremendously successful. And the young lady at the desk is doing her job...it's unfair to expect her to really be a fashion expert. I'm just stating some facts and some of my own opinions about those facts. (Things do change, however. This may be apocryphal, but some time ago I was told that Johnny Carson was not allowed to enter the Castle because he was wearing a turtleneck. Mr. Carson wasn't thrilled. Now, turtlenecks are allowed.)

In any case, I spent two pleasant evenings there (Wednesday and Thursday; couldn't make it on Friday because...and yes, I'm name-dropping...I was having dinner with Mel Brooks, Anne Bancroft, Dom DeLuise - old friends, who couldn't care less what I was wearing!) - saw some old friends, and made some new ones. Dai Vernon still going strong, Kuda Bux still sees me before he enters the room, young Alan Bursky with a different pretty girl each night, and Phil Goldstein still fools me...sometimes with my own principles or ideas.

Spent some time with Phil at the Castle, and had lunch with him and T. A. (Tom) Waters Friday afternoon. Phil showed me some things out of his latest mentalism book (VIOLET) - and they're good. Gave me some stuff for Apocalypse and also for a new book I may do - at this writing, haven't really decided. By the time you read this, I most likely will have made the decision as to whether or not to do the book (cards) I have in mind. Tom has an interesting touch on the Jordan Count. He out jogs the 2nd card counted. If you know the count, try that; it helps create the desired illusion.

Phil and I were both nominated as "lecturer of the year" by the Magic Castle. Phil won; can't think of anyone who deserves it more. Evidently at least half the members who voted (17 voted - so I'm told) felt the same way.

Visited Hollywood Magic, Inc. on Hollywood Blvd... clean, neat, well-stocked magic place.

And I'm not saying that just because they keep Apocalypse displayed in full view right at the cash register (the only magazine so displayed), and sell out one month's issues before the next month's issues arrive. (They have a standing order for many copies per month.) Reminds me some subscribers still tell me that the dealers get the issues before they do. Can't seem to solve that...I have the issues mailed to all personal subscribers long before the dealers' issues are mailed - each month. Oh, the vagaries of our post office! Still working on the problem...I'11 solve it sooner or, perhaps, later.

Magic lost some friends this year - so did I...Jerry Lubin, Joe Cossari, Ken Beale, Russell Swann...

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 (including all back issues.)

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.

396

Lofayn&s THREE DOLLARS

VOL.3 NO. 10

OCT.. 1980

pocalypse 1

ISSUE NO. 34

COPYRIGHT 1980 by H. Lorayne, Inc

As you probably know, I don't ordinarily go out of my way to perform card effects or routines involving intricate stacks or set-ups. Every once in a while, however, one comes along that I would, and do, definitely use. This is one of them - because it's a knockout. About five inexplicable things occur during the routine.

Phil's original inspiration was Roy Walton's Palmist Prophecy idea from Charles Hudson's Card Corner column in Linking Ring - June, 1973- There've been other versions and variations

by Swinford, Hudson, Rogers, Mario, etc. Phil has applied the palindromic principle used by Francis Haxton (Colour Forecast; New Pentagram, D e c , 1979) and some Stewart James influence is also present.

Phil 9oldstein abacus

At first, the explanation may seem long and fairly complicated. Be assured that it "plays" terrifically - I've seen Phil perform it, and I've performed it. Follow along with cards in hand.

To make the set-up clear for you, I'd suggest you do this: Remove the four kings, any ace, two fours, two threes, and two twos. Now, remove an ace-to-ten sequence (10 cards) of mixed suits. The set-up; all cards face up: 3 9 7 ' "

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Place the single ace face up on the table.

Place any king, except the KH, onto the ace.

Take six indifferent cards from the deck proper and place these onto the king. Then the KH, followed by one indifferent card. Onto this, place the ace-to-10 sequence. Take about half the cards remaining in the deck proper and place those onto this sequence. A king goes onto that. Then one of the 4-spots which is corner crimped. Then a 3-spot followed by a 2-spot. Place the remaining cards of the deck proper onto the 2-spot. Then, the last king, 2, 3, 4. Turn the deck face down, and - from top down, the set-up is: ace, king, six indifferents, KH, one indifferent, ace, 2, 3, 4, 5, 6, 7, 8,9, 10, about 10-13 indifferents, king, crimped 4, 3. 2, about 10-13 indifferents, king, 2, 3, 4. The ace is the top card, a 4spot is the bottom card.

Cut to your right and so that the crimped card becomes the top card of the left portion. Say to your spectator, "I need four cards; they will be taken from both of these halves (indicate the two portions you've just cut) - they will perform a magical function. And, it's your choice entirely." Ask him to indicate either one of the two portions. Take the top card of that portion. Have him indicate from which portion the next card should be taken.

Repeat for two more cards. The spectator really has a free choice here; the only stipulation is that at least one card must be taken from the right-hand original top portion. (In this example, the top card of that portion is a 5spot.) This is taken care of by your statement that four cards will be taken from both halves.

Once that top card is taken, it doesn't matter from the top of which the other cards come.

To perform: Write "king of hearts" on a piece of paper and hand it to a spectator for safekeeping, or place it in full view (folded or face down) under a glass or ashtray. You can false shuffle the deck, if you like, then hand it to a spectator. Or, leave it on the table.

Turn up the four selected cards and openly add their values. ("These will tell me what your number is.") The total will automatically be the same as the spectator's thought-of number - and the number of cards beneath his hand!

(This example - 14; a 5, 4, 3, and 2.) This is good. Let it sink in, then place the four cards, face down, onto either of the two tabled halves of the deck.

Instruct him to think of any number between 10 and 20; stress the free choice, etc.

Turn aside and tell him to count (deal) that number of cards from the top of the deck, one at a time and silently, into a tabled packet.

Tell him to cover the packet of dealt cards with his hand. There is no way you could know his number. For explanation purposes, we'll assume he thought of, and dealt, 14 cards.

Tell your spectator that he can remove his hand from his counted packet now. Pick up the packet and say that there's a faster, more magical, way in which you could have determined the thought-of number. The following simple move dates back to Hofzinser. Hold the packet in your right hand; thumb on top, fingers beneath. Toss the packet sharply to the table (or into your left hand which tables it) - but your thumb and fingers apply a bit of pressure, retaining the top and bottom cards. (Fig. 2.)

Turn back and take the deck proper. Hold it in left-hand dealing position. As you talk about the fact that you couldn't know the number of cards beneath his hand, it appears as if you casually give the deck a cut. What you actually do is this: Take the deck from above with your right hand. Your right thumbtip allows three cards to riffle off the bottom, at the rear, so that you can obtain a momentary left little finger break above them.

Your right hand maintains its grip on the deck as your left hand moves to the left - your left thumb drawing off the top single card as your left fingers take along the three-card bottom (broken) block. (See Fig. 1 for an exposed, stop-action, view.) Your right hand tables the deck, returns for the left-hand cards, placing them onto the tabled deck. This is really the only "move" in the routine and appears to be a casual cut. Don't try to hide it particularly, or make a move out of it just do it, casually, as you're talking. It's an open kind of cut, and it doesn't much matter if it's seen, although it won't be if you do it cleanly and casually.

Turn over these two cards - they will (automatically) represent the thought-of number! In this example, they will be an ace and a 4-spot. (If the thought-of number had been 16, these cards would be an ace and a 6-spot.)

The moment you've completed this cut to the table, cut the deck into two portions cutting at the crimped card (which is near center). â&#x20AC;˘398-

that you don't want the KH to be lonely, turn over all three tabled portions - there's a king at the face of each one! (See Fig. 3.)

Explain that these represent 1^ - a one and a four. "Of course, you may think that they could also represent kl. Or, you could add them together to get five. But, if you think that..."

Afterthoughts: I think it's a terrific routine, and worth the set-up. There's much room for buildup, and the entire thing seems impossible. Get familiar with it, learn it, and try it. I know you'll agree.

Place the two cards, face down, onto either of the cut portions (half decks). Then pick up the spectator's counted packet and count down to the fifth card - or, don't pick up the packet; simply spread from top, counting openly to the fifth card. Turn this card face up and leave it on the table. It will be the KH! Let your prediction be read.

You can start with this routine, or switch in the stacked deck anytime. You can set up the deck, and do one reverse faro (explained on page 186, April, 1979 Apocalypse). Then, you can do one perfect faro before going into the routine. This makes it even stronger.

Finally, saying something to the effect

Robert L. Brooks

Ring Through Rope tip at the top - on the stone (jewel), and thumbtip at bottom. Now revolve your hand outward until your thumb is uppermost; actually, it should be slightly forward of the top (forward of due north).

Bob does a routine in which he magically removes a borrowed ring from a rope five or six times in a row. He uses a different method each time, and each one takes only a few seconds. This is one of the methods he uses, and it is entirely his own.

The rope is held in your right hand with about six inches of one end in front. (See Fig. 1 for positions of hands, ring, and rope.)

Slowly and deliberately place the (six inch) end into the ring. Remember; your left thumbtip is ABOVE the rope as the rope is threaded; the stone is under the rope. Move your right hand down to the ring, threading the entire six inches - until the back of your right forefinger is against the ring. The second, third, and fourth fingers of your left hand are curled out of the way as you do the threading. (See Fig. 2, which is as exposed a view as 1 can possibly show you.)

I'll explain it as clearly as I can but, no matter how well I manage to do it, you're going to have to go over it quite a few times before it "registers." It really is a quickie, but it will take some space to describe.

Bob prefers to borrow a A wedding band is all right, is not as good. The rope is cian's rope, with the center treats the ends with Elmer's fraying.

man's signet ring. but the illusion good soft magicore removed. Bob Glue to prevent

Pause here, showing that the rope is really, and clearly, threaded through the ring.

Now, the key move: In action, it's a rapid backward revolvement of both hands - at the wrists - flipping the threaded end of the rope up and over your hands - toward you. It's during this "flip" that the rope is "stripped" (secretly removed from the ring). Let me break it down for you.

The rationale is that you're flipping the end over so that you can continue to pull it through the ring from the side closer to your body. AS you flip the end over and toward you, two things happen simultaneously. They happen near the end of the flip.

As the rope end flips over to your side, your left second finger straightens, moving (almost automatically) under the rope (at the outer side of the ring - the "unthreaded" part) and under your right forefinger. (See Fig. 3 for a side view - I've moved the other right fingers out of the way for clarity's sake.)

In action, of course, there is no pause whatsoever. AS your left second finger goes (straightens) to position (and REMAINS there) your right forefinger moves downward. This automatically "strips" the rope. (See Fig. Ufor a side view halfway through the stripping.)

All right; hold the ring between the tips of your left thumb and forefinger; forefingerâ&#x20AC;˘399-

quence simply appears as if you're centering the ring. As I said, you're going to have to try this, go over it, a few times before it "flows."

Again, there is no pause in action. The "flip revolve," the straightening of your left second finger, and the downward movement of your right hand (forefinger) are all one blended, continuous, motion. Remember; when you get this working right, the "stripping" action takes place near the end of the "flip revolve" motion. (Fig. 5 is your view of the strip completion.) From the front it appears as if the rope is still threaded through the ring.

Now - your left thumb, which is at the bottom of the ring, and toward you, moves off the lower edge to the top (near stone). (See Fig. 6.) Spread your second and third fingers a bit as your thumb and forefinger push (pivot) the ring's lower edge between them, pushing the rope along with it. (Fig. 7.) Push down firmly, and close the fingers, as you display the ring on(?) the rope. It's another perfect illusion. (Fig. 8.) With practice, getting into this position takes a second. For the display, your left hand moves down to about waist level, palm toward audience.

8

The ending is up to you. You can have spectators hold the two ends of the rope as you close your hand and remove the ring in your most dramatic manner. You can get your left thumbtip into the ring (to hold it in place) and do a visible penetration - snapping the rope from the ring - ends held in right hand.

I like to grasp the sides of the ring with my right thumbtip and second fingertip - and snap it off the rope, as my left thumb moves onto that portion of rope - rubbing and straightening out the small, loose, bight. Up to you.

5

That illusion is heightened as, without a pause, your right hand pulls the short ("flipped") end down until the ring is apparently threaded at center rope. The rope actually moves between your left first and second fingers, of course. The illusion from the front really is perfect. The entire se-

PUBLISHED, WRITTEN, EDITED:

Afterthoughts: Keep doing it. As with most "handlings," after doing it about a hundred times, it no longer looks like a "move."

Harry Lorayne

ILLUSTRATIONS: JOE WIERZBICKI

400 =

Greg Wissmueller

High Spread Start spreading from left to right hand, as you raise your hands off the table. This is easy if, as you start spreading, your right third and fourth fingers straddle the right side of the pencil. (See Fig. 2.)

Greg uses this mainly as a gag. You can use it that way and perhaps, with a bit of thought, make a little mystery out of it. The "gimmick" is a regular long pencil. It works best if it's a normal octagonal-sided pencil.

And, it's easier if you're working on a surface that has a bit of "give," like a close-up pad.

Continue spreading, balancing the spread on the pencil, as you move your hands toward the spectator (or a different one), saying, "Would you like to see that again?" After one or two tries, you'll be able to spread the cards to an impossible length, as in (Fig. 3 ) .

Have any deck shuffled. Take it back, hand to hand spread it to have a card selected.

The card is not looked at but placed on top.

Square and double lift, showing the top(?) card. Replace the double. Deal the top single card onto the table and hand the pencil to the spectator, asking him to sign or initial the back of the card.

Take the pencil and place it near you, broadside toward you. That is, it's pointing left and right. The only reason for the double lift and the signing, is to have a logical reason for the presence of the pencil.

Or, even weirder and funnier looking - remove your right hand with some cards. The left-hand spread remains "levitated"!

(Fig. ^.)

That's it. You can end in a couple of ways. Don't allow a card to be taken, of course. Lower your hands to the table, leave the pencil where it originally was, and move your hands and the spread forward to another spectator. Let him take a card, and go into another effect. Surprisingly, most people won't notice the pencil or think of it as the "modus operandi."

The deck is in dealing position in your left hand. Patter about what has happened.

The fact that the (name the card displayed at the double lift) has been signed, and so on.

As you talk, lower both hands to the tabletop. They're in hand-to-hand spreading position. Tell your spectator to turn over the signed card. He does; the card has changed.

It's during this piece of natural misdirection that you clip the left end of the pencil lengthwise between the length of your left third and fourth fingers'. The left tip of the pencil is at the fork of those two fingers.

(Fig. 1 shows how the pencil is clipped; the deck has been removed for clarity.)

Or - if you're seated, it's a fairly simple matter to lap the pencil. Then you've presented a real mystery. Play it as you like it - you now have the basic idea.

Afterthoughts: Crazy idea, but there's value there. Practice a bit, and try it. It could be one of those things longest remembered, or talked about, by laymen.

IT'S SUBSCRIPTION-RENEWAL TIME, FOLKS; If your subscription started with the first issue of Vol. Ill (Jan., 1980), the D e c , 1980 issue (#36) - two issues from now - is the final issue of your current subscription. I know that you want Apocalypse to continue to reach you without interruption, and it would help toward that end if you sent in your $30.00 renewal now. (Foreign subscribers: Add postage as stipulated in subscription box on rear page. If you intend to use an Int'l Money Order, do it now. It takes 4 to 8 weeks to reach me.) All subscribers - if your subscription started with an issue later than Jan., I98O, you know when your renewal is due.

Send it now, if you like - get it off your mind.

There's a time lag between removing and re-entering names; it's also costly. So, please send in your renewal as soon as you can. Now, is best. Then, no delays can possibly occur with your subscription.

If you don't subscribe - what are you waiting for? Tell you what - subscribe now to start with the "blockbuster" Jan., 1981 (anniversary) issue and receive the D e c , 1980 issue free!

That is, if you mention it when you send in your $30,00 (plus postage for foreign subscriptions).

Please don't take these reminders personally. Had too many "forgetters" last year. So, DON'T FORGET - do it NOW! Sending it early saves time, trouble, and expense of personal reminders which I probably won't be able to do, anyway. Gimme a break!

The complete index for all of Vol. Ill will be in the D e c or Jan. issue. And - I still have some TERRIFIC magic that I can't wait to run in 1981' 401

Paul Cummins

Oiled and Watered

This is Paul's extension of an oil and water routine that he saw Derek Dingle perform in 1975- The extension consists only, as you will see, of using two different back colors, apparently to assist the audience in distinguishing aces from kings at all times. To the best of Paul's knowledge the only other applications of red and blue backed cards to an oil and water theme are by Ed Mario in IBIDEM #15, page Ik, and Jon Racherbaumer's "Technicolor Oil and Water" from his LECTURE NOTES #1, page 18 (the latter reference was pointed out by J. K. Hartman after Oiled And Watered was derived) .

to the right, perform a double buckle (or pull down) with the cards in your left hand. (See Afterthoughts.) With your right fingers, take the top two as one. "Three kings and three aces..." Place the double card below the other two, squaring the packet ("hearts"). Take the AD and insert it second from the bottom of the packet via a bottom card buckle (or pull down) ("diamonds"). Take the packet from above with your right hand as your left thumb pulls the AC into your left hand ("and clubs"). In a continuing action, form a fan with the aces by pulling the AH onto the AC (side jogged to the right), and placing the double card onto the AH. (See Fig. 1.) This display of, and naming of, the aces may seem cumbersome - it isn't - and is necessary for the placement of the extra king. Just do it casually and it strengthens the routine.

Have a red and blue deck available. During the following culling process the cards are held so that the audience cannot see WHAT you remove, but will hopefully note HOW MANY you remove. Take the blue deck and cut the KH to the top, then run through it and upjog the KC, KS, and AD. Place the KC on top of the KH, followed by the KS and AD. From top down you should have the ace, KS, KC, and KH. Turn the deck face down and lift off the top four cards as if they were the three you just upjogged.

(Deal-push three, steal one.) Place them face down on the table, squared.

Pick up the red deck, upjog the AC, AH, and the KH. Pull out the AC and toss it onto the blue cards, face down, followed by the AH, then the KH. (You can, if you like, flash the first two cards.) The order of the tabled packet from face to back is: KH, KC, KS, AD, AC, AH, KH. The routine consists of four steps. The first one begins with the following explanation and display of the cards you've just placed on the table. Pick up the packet and hold it face down in your left hand. Count the cards as six by means of the buckle count (or simply hold the last two as one) without reversing their order, and patter, "As you've seen, three red cards and three blue..." Turn the packet face up, spread out the three face kings, and place them face down (blue backs are seen) on the table to your right. "...The blue ones are kings..." Spread the AD and AC to the right, holding the last two cards as one. "...And the red ones are aces." Square the aces and turn over the packet in your left hand. (You can casually re-spread to show three red backs.)

Explaining that you will make the alternation clearer, pick up the KH and insert it outjogged between the AC and AH. Pick up the next king and insert it between the AH and AD. The last king is placed onto the face of the fan, also outjogged. (See Fig. 2.) "These aces and kings are CLEARLY mixed...watch closely."

Square the packet slowly and purposefully to prove that no sleight of hand takes place. Turn the packet face down, and say, "I don't know how, but they unmix themselves!"

Take the top red card and using it as a pointer, tap its left long side perpendicularly on the back of the second red card, flashing the face of the AC. Deal that card face down to the table. Deal the second red card (don't flash) onto the AC and scoop up these two with the third red card, hinging them, as a packet, to a face-up position on the table. The top card is a king and it's not seen if you hinge over the three cards properly. Be sure to flash the AC - you want all three of these cards to be taken as aces.

Turn the top blue card face up onto the table, to the left of the aces. Follow it with the second card, which goes face up onto the first king and overlapping it to the left. Turn the double card face up with your right hand and use it to scoop up the other two kings.

Immediately drop the kings onto the aces. The accompanying patter has been as follows: "Three red cards (tap the pointer) - aces (as the aces fall face up on the table), and three - blue kings (at the rate of a word per king)."

Patter, "It's a fact of nature that oil and water don't mix, and though you may not have known it, the same holds true for kings and aces; they just don't mix." Alternate the blue and red cards like this: Move the top blue card"to the center of the table, take the -top red card from above with your right hand and drop it onto that card. Deal the next blue, drop a red, deal the last blue, and drop the last two left-hand cards as one. Match actions to words here: "King, ace, king, ace, king, and ace."

Pick up the packet and turn it face up, as you say, "I don't have to do a thing; they separate themselves." Deal the first black king to the table followed by the KH overlapping to the left - and scoop up these two with the third king, moving them to the right side, face up and fanned. As your right hand moves the kings â&#x20AC;˘402-

may use the "through the fist" flourish as your gesture - turning over the packet in the process) and buckle the bottom card (or pull it down) so that your right thumb may hold a break over it as your right hand takes the packet from above. Your right hand pulls away all but the top card, which is held back by your left thumb. As the second card is pulled off, the bottom one is released underneath it. Continue pulling off the remaining four cards, one at a time - calling attention to their color. They are indeed alternated!

Place the packet face up into your left hand and deal-spread the three face kings.

Place them face down on the table to your right.

Fan the aces, holding the last two cards as one, in order to display them for a second. Turn them face down, squaring them. (You can respread here, showing three red backs.) Now, as you alternate the cards for the third time, you will flash all but one of them. It's important for consistency sake to hold each card you'll flash face up in your right hand with its left long side on the table, and then flip it face down as in turning, the page of a book.

So, with your right hand, pick up the top blue card and hold it face up as explained.

Pause, and say, "A king..." Flip it face down, "Blue..." Deal the top red card face down onto that king (don't flash), and say, "An ace, red."

Handle the second blue card exactly as you did the first. Turn the second red card face up and handle it as you have the kings - pause as you hold its left side on the table just to the right of the packet you're forming (See Fig. 3)

After the final red-backed card has been taken into your left hand you will demonstrate two facts quite clearly. First, that each red card is truly an ace and each blue card truly a king; and second, that the aces and kings are unmistakably alternated, Turn the top red card face up onto the table, A red-backed ace;" deal the next card face up and overlapping to the left, "A blue-backed king;" and continue in this manner with the next two cards. At this point, there are three cards remaining, one red-backed over two blue-backed. Buckle (or pull down) the bottom card and double turnover the top two as one, "A red-backed ace." Still holding this double card face up in your right hand, flip the last card face up onto it, "And a blue-backed king." (See Fig. 5-) Drop these three as two onto the tabled spread.

and say, "An ace," and flip it face down onto the packet, "red." Repeat with the last king.

Now take the double card, turn it face up and flip it over as explained. (Careful, here, not to let the two cards separate.)

An alternative procedure (and there are many) which may be more natural, is to deal the first ace face up to the right, the first king face up to the left, ace to the right, and king to the left. You are now in position to double lift and turnover onto the single blue card.

Do this, then buckle again and lift the double card from above to facilitate dropping it onto the ace packet. Turn the blue king face up onto the king packet. Drop the kings onto the aces, turn the entire packet face down, deal the top three reds onto their deck and drop the blues onto their deck - to end, and to cleanup.

If you use the first procedure (which was suggested by J. K. Hartman), clean up in the following manner. Slide the spread together and hold the packet face down and from above in your right hand. To separate the cards and return them to their respective decks, execute a reverse faro outjogging the first card and holding the last two as one. Strip out the reds and add them to their deck. Add the blues to their deck.

As you pick up the packet and turn it face up, patter, "I've shown you every card, but still I don't have to do a thing - they separate by themselves, like oil and water." Deal the three kings onto the table, each overlapping its predecessor to the left - "king/king/ king..." Double buckle (or pull down) and spread out the aces - "and ace/ace/ace!"

Take the double card by its outer right corner between your right thumb above and first and second finger below. Your left fingers push the AH to the right under the AD. Then slide the double card between the aces to form a fan that overlaps to the left. (See Fig. k.) Take the ace fan from above with your right hand and place it, overlapping, onto the kings, forming a six-card spread of three aces over three kings. Patter, "I've demonstrated how aces and kings unmix themselves just as do oil and water - but being a magician, I possess powers that enable me to overrule the forces of nature.

Look, I'll keep the aces and kings separated (slide the spread together slowly and take the packet into your left hand). But, if I do this... (do your magical gesture) the blue kings and red aces magically alternate!"

Turn the packet face down (if your magical gesture hasn't already done so - that is, you

Whichever "clean up" you use, cut or shuffle the decks as soon and as inconspicuously as possible to discourage the curious spectator from discovering that all the blues were not truly kings and all the reds were not truly aces.

Afterthoughts: â&#x20AC;˘403-

Don't let the length of

the explanation deter you - the routine is not a particularly long one. As usual, with a routine such as this, familiarity is essential.

Just do it, from beginning to end, a few times, and that familiarity will come. It's a fine, impromptu, routine.

Bob Farmer

When I have to do a double lift from four cards, I don't have to bother with, or use, a double buckle or pull down. I use my own completely clean (no get-ready) method - explained in "Follow The Leader Reversal" in my book, QUANTUM LEAPS.

Rate Of Exchange

This is a stunning routine. It starts with three regular, examinable, coins; you do NOT have to be seated at a table in order to perform it; a close-up mat is NOT necessary although it should be done on a surface with a bit of "give"; a napkin, newspaper, or magazine cover will do; there are few or no angles to worry about; there's continuous magic and a "smash" finale; no bulky apparatus is required, and it's easy to re-set. You do, however, need the set of gimmicked coins, and you have to make up a special pocket holder. Bob also uses a miniature plastic hand for misdirection. (The "hand" idea originally appeared in a Paul Harris book. ) Bob tells me that he originally encountered his inspiration in THE NEW MODERN COIN MAGIC

by Bobo, credited to Conrad Haden. The apparatus and effects are standard, but the routining is unique. He also tells me that the necessary gimmicked-coin sets are sold by Johnson Products and Sterling Magic Creations and Paul Diamond under the name "Two Copper And One Silver." In Bob's version, a Chinese (holed) coin replaces one copper. You'd have to check whether you can get that in a "set." You also will need an expanded half-dollar shell, and regular coins to match the fakes.

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shown. The coins should rest loosely in their respective pockets. The cloth is attached to a thin steel plate (this "ballast" is important - it keeps the holder in place as the steals are made). Bob used a small pocket mirror of steel.

Set-Up: The miniature hand and the three regular coins are in your left pocket. The holder containing the gimmicked coins is in your right jacket pocket - with the coins TOWARD YOUR BODY. This is so that when your right hand enters the pocket your thumb can immediately go over the holder to the correct coin and slide it, gently, into finger palm.

Set the gaffs into the holder as indicated in Figure 1 - the half-dollar shell is hollow side out; the Chinese coin shell is hollow side in (the actual coin surface faces out), the centavo-half dollar coin is placed centavo side out. You'll know exactly which coin is where after some practice.

Routine: Place both hands into their respective pockets as if searching for something.

Your left hand comes out first - with the three regular coins. Your right hand comes out a bit afterward and both hands spread the coins onto your surface. Let them be examined, then line them up from left to right - in copper, brass, silver order.

Say something about the hand being quicker than the eye, as both hands go into their pockets. "And this is that hand!" Your left hand comes out first with the miniature hand - in the meantime, your right hand steals the halfdollar shell from the holder (hollow side out).

This is the lowermost coin in the holder.

Your right hand (shell finger palmed) comes out a fraction of a second after your left hand. Both hands are moving - the left has placed the hand onto the table and is moving toward the copper coin (left end of row). Your right hand is moving toward the silver coin (right end of row). The miniature hand is used only for this piece of misdirection. It isn't essential, of course. If you use it, you might work in another mention, or two, of it.

Your left hand should pick up the copper before your right hand reaches the silver. AS your right hand reaches the silver and drops the palmed shell onto it - your left hand drops the copper onto the brass. One sound masks the other. Immediately pick up the copper and brass stack (copper on top) with your left hand as your right hand picks up the silver coin (and shell). (See Fig. 2.)

You'll need a regular U. S. half dollar (silver), a Chinese (holed) coin (brass), and a Mexican 20-centavo piece (copper). The gimmicks: An expanded half-dollar shell, a Chinese coin shell with a milled edge to match a regular half dollar, and a 20-centavo-half dollar gimmick. The tail side of a half dollar on one side and the 20-centavo on the other side.

These three gimmicks are kept in a "pocket holder." Bob's holder enables you to remove one coin at a time, smoothly and quickly. It can be used for other routines. (See Fig. 1.)

It consists, simply, of a piece of cloth with three "coin pockets" stitched onto it, as

Place the left-hand two-coin stack onto the right-hand silver coin and spread and display the three coins. (Fig. 3.) With your left hand, adjust the coins into a stack on -404-

working surface. Your right hand displays the regular Chinese coin; then places it into your pocket. Drop the coin and steal the (remaining) coin (copper fake) from the holder.

As your right hand starts coming out of your pocket with the finger-palmed coin, your left hand spreads its coins, like this: Relax your fingers to allow the Chinese shell to fall out of the silver shell and onto the table.

Move your hand above (north of) the Chinese shell and place both coins on the table. Slide the top (copper) coin off the silver shell, onto the table, to below (south of) the Chinese shell. This takes less than a second, and displays the vertical row of coins just as before.

The Chinese coin has magically re-appeared.

your open right hand. As a check, the coins are stacked as follows: The copper (Mexican) coin on top, then the brass (Chinese) coin, followed by the half-dollar (silver) shell with the real half dollar in it.

Now it's the copper coin's turn to "travel." Your left hand re-stacks the three coins from south to north; that is, (regular) copper onto Chinese (shell) onto silver (shell). Place the stack onto your right hand just as before timing it so that the right-hand finger-palmed (copper fake) coin isn't seen. It goes into the half-dollar shell.

Do as you did with the Chinese coin spread the coins, then move the copper (top coin, this time) to near the heel of your right palm. Your left hand re-stacks the remaining two coins - the Chinese shell is on top of the silver shell; inside the silver shell is the copper fake (copper side up).

Your left fingers cover the stack and pick up all the coins. This automatically leaves the real half dollar lying on your right hand.

Your left fingers "shade" the stack from all angles. To the audience, it appears as if you have taken the copper and brass, leaving the silver, which you have actually done - except that the half-dollar shell is secretly at the bottom of the left-hand stack.

Display the half dollar on your right hand, then place it into your pocket as your left hand moves, as is, to the upper left of your working surface. Your right hand, upon entering your pocket, drops its coin and steals the brass (shell) coin - this is the coin closer to the front of the holder, and it's finger palmed (automatically) hollow side toward palm.

Your right hand deposits the (real) copper into your pocket. Your left hand downward spreads its coins, like this: Let the copper fake drop out of the silver shell onto the table . Move your left hand north of the copper and place both coins onto the table. Slide off the Chinese coin, moving it southward and to between the silver and copper shells. Again, the display is as before, and the copper coin has re-appeared. Your hands are empty, you've done some pretty good magic, and you've switched in the three fakes!

AS your right hand comes out of the pocket, your left hand spreads its coins into a downward row. The half dollar has magically re-appeared. The top coin of the row is the silver shell, the center coin is the Chinese brass, and the lowermost coin (closest to you) is the Mexican copper coin. The coins will be in this order each time you spread them, as you'll see.

Your partially closed right hand is resting at the right. As soon as the effect has registered, your left hand re-stacks the three visible coins - copper onto brass, and these onto the silver (shell). Pick up the stack and hold it as before, when you removed it from your right hand.

Now, into the next phase of the routine.

With your right fingers pick up the silver shell and place it onto your left palm. The copper fake goes onto and overlapping the silver shell, and the Chinese (brass) shell on top of and overlapping the copper. Display the three coins on your left palm.

It now appears as if your right hand takes only the half dollar out of your left hand.

Close your left hand slightly, causing the copper fake to nest into the Chinese shell. The nested set remains on top of the half-dollar shell. The stack is on your fingers near your palm. As you turn over your left hand (palm down) your left thumb pushes the nested set off the silver and up to your fingertips. As the coin emerges into view it appears to be the silver coin. All you've done is to turn over the nested set.

Push up the nested set as you move it toward your right hand. Deposit the set, as one coin (silver) onto your right hand, in fingerpalm position. Your audience has seen three coins in your left hand - and now sees you place the silver coin on your right hand.

Both hands move toward each other. In appearance, you're going to place the three left-hand coins onto your open right hand. Time it so that your right hand opens just as the left-hand stack is placed onto the finger-palmed brass (Chinese) shell. Time this properly and the finger-palmed shell can't be seen. The brass shell goes into the half-dollar shell.

In a continuing action, your left fingers spread the coins as in Figure 3- Display them briefly - then, with your left fingers pull the center coin (Chinese) out of the spread and place it near the heel of your right palm. (See Fig. 4.)

Keeping your right hand palm up, close the fingers of that hand. The Chinese shell remains in finger palm as the copper fake falls onto your palm - copper side up. What's interesting here is that this separation is completely si-

Pick up the two (at the right fingers) remaining coins with your left hand, holding them as you have been. Move your left hand, and the coins, toward the "spreading" area of your

-405-

lent. Your audience sees you simply close your hand around the half dollar - that's all.

Blow on your right fist - but don't open that hand. It's much more magical to immediately open your left hand to show that the silver coin has jumped back there. THEN, open your right hand to show the "miracle" transposition - the brass and copper coins are there.

Place all three coins onto the table.

Then, repeat the last effect, exactly. Place the coins back onto the table. Now - the finale, which appears as if you're doing another repeat. Place the three fakes onto your open left hand like this: First the copper, then the brass onto and overlapping the copper, and finally the silver onto and overlapping the brass. Display the coins. Now, when your left

Obie O'Brien

hand closes slightly and turns over, the three coins will nest as one. When the silver coin is placed onto your right palm, exactly as before, your left hand, of course, is empty.

Display the silver coin and then put it into your pocket. End by showing your left hand empty.

Afterthoughts: When Bob performs the final sequences he places the coins onto the table in a horizontal row, in the order in which they're about to be picked up. This is only to avoid picking them up in what may appear to be a calculated, or contrived, sequence. It helps toward making it all look impromptu and casual.

The routine, of course, is not anywhere as long as my description. It's a fine, apparently-impromptu, routine.

Proof Of The Pudding Simply deal left-right alternately. The facedown cards go to the left and the face-up cards to the right. This is where the key sleight comes in. When you come to the last two cards (a face-down card is showing in your hands), deal them onto the face-down packet as one card. (See Fig. 1.)

There's a vague memory in my mind of a similar kind of routine) this one is all Obie's.

I'll teach it to you exactly as he did it for mej I'll mention a different ending in my Afterthoughts.

Have a card selected - since you have to know the card, it has to be forced or glimpsed.

Then, control it to anywhere near the top.

That is, it can be anywhere within the top, say, ten or so cards. This gives you plenty of room for a convincing control, and shuffles.

Say that you're pretty sure that his card is near the top. Now, you're going to flip cards onto the table, into a packet, alternating face down-face up. The first card goes face up, then face down, then face up, and so on. The number of cards you deal this way is not important as long as you're sure you've dealt the selected card (you may or may not see it, since it may be face up p_r face down), and the last card is dealt face down. (It will always be an even number of cards.) Anywhere between 14 and 16 cards is fine. If you like, you can deal the cards in spread, overlapping, condition. Place the deck proper aside.

No break above the two bottom cards is necessary. It's much cleaner to do it by feel.

After a few tries, you'll know it when you come to the last two cards. Although it should not be necessary, you can make sure by mentally counting the cards as you originally deal them, alternately face up-face down to the table.

Then, when you deal alternately into two packets, when you come to the number one less than that, that's the double card.

Be careful not to allow these two cards to spread as you place them (it) onto the facedown packet. The best way is not to release it; deal it onto the packet and pick up the packet at the same time. Your attention is on the face-up cards, of course.

Ask, "Did you see your card?" Of course, he didn't. Say, "Oh, it must be in the facedown packet." Turn that packet face up in your hands. Take one card at a time, from the face, and place it face down to the bottom. As you do this, you can ask, "What is your card?"

Then, as you deal, when you come to a card close to his, you can say, "You're sure it wasn't the (say) six of clubs?" You're showing concern over his "missing" card.

If you've seen his card as you dealt the alternating face-up face-down packet turn over the packet as you pick it up. If you haven't seen it, don't turn the packet. In other words, you want his card face down.

Hand to hand spread the packet, as you ask your spectator if he's seen his card. You will get a "no," so say - "Oh, then it must be face down. I'll turn over the packet." Do so, then spread the cards again. Ask if he sees his card now. You'll get a "yes." Meanwhile, spot his card; as you square, get a momentary left little finger break under it.

Cut at the break. (I prefer to double cut here. )

Continue this deal - face-up cards being turned face down from top to bottom, until you come to the first face-down card. Don't spread that one, or you'll expose a face-up card second from top. Your spectator still hasn't seen his card. "Perhaps you missed it, look again - carefully."

At this point, turn over the packet an EVEN number of times, 4 or 6, which keeps the selection at bottom. "Now, neither of us knows whether your card is face up or face down."

Then, deal the packet, one card at a time, from the top, onto the table, into two packets. â&#x20AC;˘406-

spread the face-down packet to show his card face up at center.

Flip the packet face up and repeat exactly, again indicating a card once or twice, saying, "You're sure it isn't this one?" Incidentally, this run-through must be done twice.

It's also quite effective that way.

Afterthoughts: Go over this; try it. The handling is smooth and convincing - it's a fooler. I came up with two suggestions for the ending. The first is to place the packet into the center of the deck proper and then spread to reveal the face-up selection. The second necessitates a minimum of preparation, and a force.

Say, "Then it must be here in the face-up packet. Let's check that again." Hold the face-down packet in your left hand. With your right hand, take one face-up card at a time (from the tabled face-up packet), hold it against the face-down packet for a beat (See Fig. 2) - then flip it face down onto the facedown packet.

Find two mates, say the two red 5-spots.

Place one face up about 10 to 1U cards from the bottom; the other is on top. You can shuffle, keeping the two vital cards in position. Then force the top card (red 5-spot). Any force will do, as long as you don't expose the faceup card near bottom. Then, have it replaced.

It's controlled to near top. I'll leave this to you. You can have it replaced to the top, then cut a small packet (less than, say, 10-11 cards) from center to the top. Or; get the card to near top, hold a break under it, then riffle-force it. That way, you're already in position.

Do the routine as explained. To end, place the packet to the center of the deck, then do a wide face-down ribbon spread exposing the two red fives. (See Fig. 3.) Your ending line might be - "Your card couldn't be there because, you see, the (say) five of hearts never leaves its mate!"

Do this with all the face-up cards. He still hasn't seen his card. Then, to end -

.Remember Âť if you Xerox this magazine, you lessen its worth to YO15t5fi

Carl Mellish

Three O'clock Nip Now, pretend to place the coin into your left hand by turning your right hand inward (toward you; and toward your left hand. (See Fig. 2, which is your view.)

At first, this may seem a bit silly and/or awkward to you. But Carl fools people with it.

The awkwardness is in the way you have to grip, or "nip," the coin.

It is displayed as in Fig. 1, which is the spectators' view. This is difficult to portray but, in each of the illustrations, it should be the very tip of the forefinger that is against the lower edge of the coin, holding it against, not the center, but the upper side of your thumbtip, near the knuckle.

Your left hand closes as if taking the coin, of course. Done properly, there is a persistence-of-vision aspect to it, and it's a perfect illusion. Because - if your right hand (the fingers never change position) is held up toward audience, the coin cannot be seen.

(See Fig. 3 for your view.)

That's all there is to it. Open your left hand - the coin has vanished. To re-produce it, Carl occasionally flips his thumb backward, which bounces the coin against his chest. He â&#x20AC;˘407-

catches it with his left hand. Sounds silly, I know - but try it. It looks weird - as if the coin flew out of your chest!

tention is on your left hand, and the coin(?), of course.

Afterthoughts: The grip ij3 a bit weird.

into the pocket.

appears natural when you "nip" it that way again, m readiness for the vanish.

This is done while your at-

Ellipses (...)

Made a quick trip to Europe in April...the main reason for the trip was to tape the Paul Daniels TV show, for the BBC, in London. Paul is a good performer, knowledgeable magician, and a nice guy. His show is highly rated, and he's a star. John Fisher is the producer and a good friend...Ali Bongo is the technical advisor. Unfortunately, there wasn't enough time to spend with these nice people. Bumped into Shari Lewis at rehearsal...haven't seen each other in 12-15 years! She was rehearsing a dance number with two life-size puppets (taller than she is)... fascinating illusion.

My wife and I stopped in Paris first. Did two magic lectures there. Maurice Pierre arranged and organized them...he did a terrific job. He and Bernard Bilis and Jean-Jacques Sanvert shared the interpreting chores. I'd wear out one of them and another would take over! Enjoyed doing the lectures...met quite a few Apocalypse subscribers.

Spent some time (into the wee hours) with Bernard and Jean-Jacques...they're both excellent close-up men. Bernard has a book manuscript - cards and coins - just about finished. I may publish it...I'll keep you advised. Got some pretty things for Apocalypse, and some for a book of my own...that I'm contemplating.

My wife and I have been to Paris many times, but this time we managed to do some of the tourist things. Had dinner at Maxims, lunch at Tour D'Argent, overlooking the Thames and Notre Dame (courtesy of my good friend, Alex Scarella, of Nice)...even had lunch at the Eiffel Tower.

Enjoyed it all.

On to London, where Paul Stone, owner of The Ace Place (Coventry St.) had arranged two lectures for me...one in Liverpool, one in London. Paul, too, did a terrific job organizing everything. (He's handling all Ken Brooke magic now.) These lectures, too, were fun to do. All nice people. Again, met many Apocalypse subscribers. (Apocalypse goes to about 30 countries now.) Was a pleasure to see Goodliffe, who came in from Birmingham for the lecture.

Kinda' tired by the time I had to tape the TV show...I did close to 4-5 hours at each lecture. But, the taping went well...at least, everyone seemed happy. (The show should be airing in England just about when this issue goes out.) Perhaps some English friends will write and tell me if it "played" well.

Only one negative note. We were scheduled to return to the U.S.A. on TWA. Arrived at Heathrow Airport to be told that that flight had been cancelled. (They said, "If we'd had your phone number we'd have called to tell you." They had my phone number!) We were put on a British Airways flight that left two hours later. Had to "hang around." When we arrived home we found that the locks had been pulled off each of our suitcases, ruining the cases, and some expensive stuff (some just purchased) had been stolen. Waiting for BA security to handle it.

So far, nothing.

In spite of that, it was a busy, fun, trip.

NEXT MONTH Harry Lorayne - Canfield Connivery Francois Ziegler - Layla Tim Wright - The Invisible Coin Russell Barnhart - Do As I Do Prediction

Salomon Cohn - Mysterious Traveler Mike Bornstein - Bill-Vedere Allan Hayden - One-Cup Routine Plus...

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408'

Lofayne's THREE DOLLARS

VOL. 3 NO. 11

NOV.. 1980

pocatypse > COPYRIGHT 1980 by H. Lorayne, Inc.

ISSUE NO. 35

Way back in the Jinx, Ted Annemann once described a stack for beating the game of Solitaire. The trouble with it was that it worked for the game of Solitaire (Canfield) that was not the real gambling, casino, game. His was for the "off shoot" game which entailed turning three cards at a time from the top of the deck proper.

The face card of these three was the card open for play.

This continued through the deck, then again through the deck, and so on, until the player could play no cards during one complete runthrough. (Be sure to read my Afterthoughts . ) The casino, gambling, game is faster and better.

The layout (which I'll explain in a moment) is the same

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but - cards are turned singly from the top of the deck proper, and only one run-through of the deck is allowed. The gambling concept is this: The player "buys" the deck from the house for $1.00 a card, or $52.00. He plays, and receives $5.00 for each card that he can place above the layout (the "foundation").

So, eleven cards in the foundation would bring the player $55.00; he wins $3.00. Any number of cards less than eleven, is a loser.

If all cards are placed to the foundation (deck is "played out") the player receives $5.00 times 52 cards, or $260.00 - for a profit (that game) of $208.00. The problem, of course, is that the odds are with the

house.

In the long run, a player would lose.

Then, in a later issue of the Jinx appeared Arbuthnot's Canfield Solitaire Stack.

This was geared to the method of play I've just described. The problems with it (for me) were a few. First, the layout for the stack was to deal into ten packets - in a certain order. These packets had to be picked up in a different order. Unless used consistently, this could create a (memory) problem. Then, during the game, choices arose. If you took the wrong choice, it would not work out. One of these choices was mentioned there, but I found others as I played with the idea. Again, it created problems.

•409-

empty slot - you will have just moved the 10D from there), you have to move the king on the left (choice of two kings) at your next choice in order for the hand to "play out." In other words, you're faced with three kings when you clear that first space. Do not move the extreme left king and then, on your next choice, the extreme right king. All you have to remember is - if you move the extreme left king on your first choice, move the left king again for your next choice. If this seems too much to remember, it's simpler to never move the extreme left king at that first choice. Move either of the other two kings, and you don't have to worry about it any more.)

For years, on and off, I tried to find an easier and better method of stacking, a stack that would eliminate most choices. After trying many different stacks - and again, over years, since I didn't give it that much time during a sitting - the solution seems obvious.

But I came up with more than I bargained for.

Set the deck in order - each suit from ace to king, ace on top. Assemble the deck, alternating the colors; CHSD order, for example.

Now, deal the entire deck into six packets, dealing one card at a time, from left to right.

(The last "deal-out" will take you to the 4-th packet only - that's as it should be.) Now, pick up from left to right, just as you dealt first packet onto second, these onto third, etc. You're all set.

Even if you miss a move occasionally - it will work out. (I've missed some purposely, and each time it did still work out; haven't missed them all individually, of course.) I'm not suggesting that you miss moves intentionally; I just want you to be aware of what I just told you.

I'm assuming that you know the game.

Basically and briefly: The top card is dealt, face up, onto the table. (It will be the 10D.) Then, deal the next six cards face down in a row to the right of the first face-up card.

The next card is dealt face up onto the first face-down card at the left - then, face-down cards to the end. The next card, face up, onto the left face-down card - then face down to the end of the row. And so on until, finally, a face-up card is placed onto the last (right end) packet. If you've stacked the deck correctly, the cards you see should be, from left to right - 10D, ?C, KH, QD, AS, 9C, KD.

The game plays quite naturally, with suspense; it appears as if you've lost until near the end!

And, although I haven't tried all combinations - you don't have to set the cards in suits at the beginning. Just thirteen blacks from ace to king, thirteen reds from ace to king, and so on. It worked out each time I did this. The deck can be set a bit faster this way.

The plays On the layout, reds go onto blacks and blacks go onto reds. Lower cards go onto higher cards, never the other way around. In the original "stack" layout, the black 9 would go onto the red 10. When a facedown card is exposed, that's turned face up on its packet. When you move the 9C in the layout, you'll turn up the 8H. That moves onto the 9C, and the exposed face-down card is turned face up (it will be the KS). The QD can now be moved onto the KS, the 7C can be moved onto the 8H, and so on. When a packet is depleted, only a king can move into that space. All cards already played onto that king move along with the king.

To present as a demonstration - I'd stack the deck, then do one reverse faro (I explained the reverse faro in the April, 1979 issue of Apocalypse). At performance: False shuffle and/or cut, do one perfect "in" faro, then do a face-up ribbon spread - the deck looks thoroughly mixed. Then show how you can win at Solitaire whenever you like.

Afterthoughts: I don't think you can realize how strong this is for card players until you do it for some. They know how difficult it is to "play out" the deck. Present it as suggested - reverse faro beforehand, "in" faro at the start of the demonstration. Be sure to do a face-up ribbon spread - then patter to the effect that after years of practice, you've learned how to win at Solitaire whenever you like. Show that this is so.

The object of the game is to move as many cards as possible onto the foundation. Only aces can be moved there, and then ascending cards of the same suit. In the initial layout, The AS is moved to the foundation. Only the 2S can be placed onto that. Those are the basic rules. Now, play the game; try not to miss any legitimate moves - you'll win. That is, you'll get all the cards to the foundation ("play out" the deck).

Now - get this, and I'm pleased as punch with it, the same stack will also "play out" if you play the "off shoot" version! That is; deal three cards at a time, etc. And continue doing run-throughs as long as you play at least one card during a run-through.

Some points: When you're faced with a choice (for example, which king to move to an open slot) take any choice (move any king, with a stipulation - as mentioned in the next paragraph) - it will still work out. When you have the choice of moving, say, the 4S onto a red five or onto the 3S in the foundation - take either choice; it will still work out. (Although, in some casinos, the rule was that when a card that can go onto the foundation is playable, it must be moved to the foundation. It doesn't matter with my stack.)

For this, there is one other thing to remember. The first time you deplete a packet, creating an empty slot, you'll have that choice of moving one of three kings to that slot just as I mentioned before. Do NOT move the king at your left (the K H ) . Move either of the other two kings. If you move the king at the left, it won't "play out."

You even have the choice of making the game appear "tougher." If you move the king at the extreme right at that first choice, then the king at the right again - at your next choice - the game will look like a lost cause.

During some run-throughs, you'll play only one

(Nothing is perfect; althcrugh I've eliminated most "choice" problems, one or two remain. If you move the king on the extreme left when you're faced with your first choice (which of three kings to move to the extreme left â&#x20AC;˘410-

But, you can also do this: Corner crimp (or "belly" crimp) the 6C (bottom card of stack) and the 9H (33rd card). Now you can allow a spectator to cut (complete) as many times as he likes. If he cuts one of your crimped cards (either one) to the bottom, fine.

If not, you give the deck one final cut (or do a pass) bringing one of them to the bottom.

Give the spectator the choice of either game, as explained - and you're off.

card. But it will "play out." Just don't move the king at your left for that first choice then, it doesn't matter.

For your demonstration, you can give your audience the choice of the one-card, oncethrough-deck, version - or the "off shoot" version. You'll "play out" either one. This is strong.

Now, if you've stayed with me until now, hear this: There is ONE place at which you can cut the deck, after you've stacked it, where either type of Solitaire will still "play out."

That "place" is at the 33rd card - the 9H. If you cut the 9H to the bottom, which brings the 3H to the top, you're all set. When you deal out the original layout, you'll be faced with these cards: 3H, 10H, 10S, 6C, 5S, KC, AC.

And, just to keep this complete - there's one other place you can cut to "play out" only the one-card-at-a-time run-through. That's at the 13th card - the 6S is cut to the bottom, the KH to the top. During play you'll be faced with that "king" choice again - you'll see three kings on the layout, but the choice will be between two of them. Move the one at the right to the empty slot; do not move the one at the left.

For the one-card, once-through-deck, version this looks even better. There's only one "play" at the start - the AC moves to the foundation - and, it seems certain that you've lost; it "plays out" at the last card. There are no choices to think, or worry, about. For the off-shoot version there jjs one choice to remember. At the end of the first run-through, there'11 be an empty slot and two kings that can be moved into it. One king is on the layout itself, the other is at the face of the deck propero Move the king from the layout, NOT the one at the face of the deck, into the empty slot. That, incidentally, would be the proper play anyway. After you've tried this, you may want to always cut as explained.

Tim Wright

I realize that all this may seem a bit confusing at first. And, obviously, I haven't tried every conceivable combination. But, if you're interested in this, it will all become clear to you after you've played with it for a while - and you'll also become familiar with the various combinations.

As you may realize, I've put quite a bit of time into working all this out - and I'm pleased with it. It may not be an earth-shattering thing, but I certainly feel that it had to be recorded.

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T0e Invisible Coin

Tim presents this quick piece of magic standing at a table. The angles would be difficult to compensate for if you were seated.

A quarter is the best coin to use, and the more worn down, thinner, it is, the better - although Tim simply borrows any quarter. You're holding a deck of cards in your hands; the coin is placed on the table.

After the proper acting raise your flat, open, right hand away from the deck - the two palmed cards are left on the deck, covering the coin, of course. Pretend that the coin is sticking to your hand, and say, "And, my hand appears to be empty, doesn't it?" (Fig. 2.)

As the spectator looks for a quarter, or as you talk, palm the two top cards in your right hand, and hold the deck from above with the same hand. Your left hand picks up the coin and places it onto the deck. At this point, you're clean and the coin on the deck can be shown freely. (Fig. 1.)

"But, it will 'unstick' quickly." Act as if it is "unsticking;" your hand moves sharply downward and closes, as if catching the falling coin. (Really act as if there's a coin there.)

"This is a basic piece of sleight of hand. A better trick is to cause the coin to become invisible." Open your empty hand. "It hasn't disappeared; it's just invisible."

Most of what follows is more acting than sleight of hand. As your left hand grips the deck from underneath your right hand presses down, flat, on the coin. Pretend to press hard and say that if you press hard enough, sometimes the coin sticks to your hand.

Place the invisible coin onto the table with your right hand, then come back to the

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This final sequence is very effective in Tim's hands because he really acts as if he's handling a coin. That's important. To backtrack a bit. The invisible coin is still on the table. Patter to the effect that it isn't very valuable because it's difficult to spend an invisible coin. It's as you say this that it's picked up and placed onto your left palm.

Create that illusion - stare at your left palm as if there's really a coin there.

deck and slide off the top card (Fig. 3) and bury it to center. This is a convincer. Now, your right hand holds the deck from above; thumb at inner end, second finger at outer end.

This frees your forefinger to curl onto the top pressing down on top card and coin, to keep the coin at center and to keep it from sliding out.

Place the deck onto the table, in front of you and a bit to your right. It should be angled so that your right hand can grab the top card easily, as you'll see.

Transfer it to your right palm to show it to the spectators on your right. Keep staring at it. Transfer it back to your left palm to show it to those on your left again. Now you're ready to make it visible. You can mention again that it really is worth more when visible - as you slap it onto your right palm.

And, in a continuing motion your right hand slaps or drops onto the tabled deck, grasping the top card.

This is easy because the card is separated (by the coin) from the rest of the deck. And, the card is not palmed; it's simply grasped held at its sides near its outer end by the sides of your thumb and little finger. (See Fig. h to see how it would look, approximately, if you turned over your right hand - which, of course, you don't do.)

Also, remember that it must look as if you're slapping the coin onto the deck, where it instantly turns visible - act it out that way. So - you slap your hand onto the deck, immediately raising it to show the visible coin.

There isn't much pause here. All your attention is on the coin as your left hand picks it up and tosses it forward onto the table. Attention is away from your right hand.

AS your left hand does this - the moment it takes the coin - your right hand spreads the deck to the right, depositing the "palmed" card on top. Do not look at the deck as you do this.

(See Fig. 5.) You're clean.

All right; the deck is tabled with the coin under the top card - at center; the invisible coin is on the table in front of you.

With your right hand, pick up the invisible coin and place it onto the palm of your open left hand. Basically, what you do now - or what it should look like to your audience - is to place (lightly toss) the invisible coin from your left palm to your right palm, then back to your left, back to your right again, then onto the deck where it becomes visible again.

Afterthoughts; The coin should be at center of the top card when it appears at the end. Work it out that way. Watch your angles, do the acting properly, and this is a quick and effective piece of business.

Just in case you missed the notice in last month's issue - or if you forgot - if your subscription started with the January, I98O issue, it's time to send in 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 can get all record-keeping in order. Send in your $30ÂŤ00 renewal now.

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Please don't take these reminders personally. Last year, subscribers wrote to ask why Apocalypse stopped coming. They'd forgotten to send in their renewals. I cannot send out personal reminders, DO IT NOW!

PUBLISHED, WRITTEN, EDITED:

Harry Lorayne = 412 =

ILLUSTRATIONS: JOE WIERZBICKI

Francois Ziegler

Layla Start to deal cards from the top, one at a time and face down, into a tabled packet, as you ask your spectator to stop you anytime he ' likes. Stress that he has an absolutely free choice. You actually have a leeway of 25 cards.

You're going to force a club card. Easy enough because every odd card is a club - so mentally count the cards. If you're stopped at an even card, finish dealing that onto the alreadydealt cards, and place the next card in front of your spectator. If you're stopped on an odd card, place IT in front of him.

I don't know what the title means; I assume it's French; it's Francois' title. It's a good effect. The handling is a little different under different circumstances. I'll describe it exactly as Francois sent it to me, and I'll explain my own handling in the Afterthoughts .

There is a 12-card set-up involved. Take out all the clubs except the queen. Set the 4, 6, 8, and IOC on top of the deck so that the 4C is the top card. Corner crimp the bottom card.

Onto the bottom, covering the crimped card, place the king, jack, 9, 7, 5, 3, ace, and 2C. The 2C is the face card. That's the set-up, and it's fairly easy to remember; even cards on top and odd cards at bottom, except for the 2C. (The way I set up is easier for me. See Afterthoughts . ) After some shuffling, keeping the set-up intact, say that you need the queens for this trick. Spread through the cards, faces toward you, removing (or stepping up) the queens as you find them. Place the queens, face up, onto the table, making sure that the QC is at the face of the packet.

Hold the face-up deck in your left hand.

Pick up the face-up queens with your right hand and hold them in Biddle grip. As you pick up the queen packet, get a left little finger break under the face (top) card of the deck the 2C.

There is a slight difference in handling when you're stopped before the QC is dealt (it is the 15th card) or after it's dealt. If you are stopped before it's dealt, place the club card in front of your spectator. Then, turn over th£ card on top of the tabled (dealt) • cards, turn it down again - then show the top card of the deck proper, and place it face down ONTO THE DEALT CARDS. You're showing the spectator that he could have stopped at either of these. Finally, drop the deck proper ONTO the tabled, dealt, cards.

Show the queens once more, doing Mario's Atfus move as you do. Quick description: When your right hand approaches the deck so that your left thumb can slide off the QC, your right thumbtip picks up the "broken" 2C. It is kept separated from the queens by your right thumbtip.

If you're stopped AFTER the QC is dealt, place the club card in front of the spectator.

Show the top card of the already-dealt cards and replace it. Show the top card of the deck proper and place it BACK on the deck proper.

Then place the packet of already-dealt cards ONTO the deck proper. This is all obvious and easy to remember - it's simply a matter of bringing the QC to the top area of the deck, that's all.

This steal of the 2C is done as you slide the QC onto the face of the deck. As you slide off the second queen, your left fingertips - on its right long side - take back the 2C. The 2C goes flush, but keep a left little finger break beneath this second queen. Slide the third and fourth queens onto this. Count to four as you show the queens. Immediately remove the (3) queens above the break. Place them, in a packet, face down, to the table. The QC is hidden beneath the 2C (which shows on the face of the deck before and after) - it's second from face of the deck proper.

Okay; ask the spectator to look at his. card and then to insert it anywhere into the deck, which you're holding face down and squared in your left hand. 'Hold the deck firmly so that he can't insert it all the way. Turn your head aside as he does this.

Turn the deck face down and cut or double cut all the cards (9) below the corner-crimped card to the top. Now do a "left-over" faro.

That is, cut about twenty cards from the top (a minimum of 13 cards must be cut) and faro them into the larger lower portion, but below that lower portion's top. (See Fig. 1.) As you square or "waterfall" the cards get a momentary break beneath the top, unshuffled, block - then cut, or double cut, that block to the bottom.

When you turn back, say, "Oh, I wanted your card face up, so we can find it again, easily." (This is the reason for turning aside in the first place.) Perform the Larry Jennings move, from STABBED COINCIDENCE. That is, flip all the cards above the protruding card face up, in a block, onto the protruding card. Then, as your right hand holds all the face-up cards and the protruding card, flip all the cards under the protruding card face up, leaving them under the protruding card. Flip over the entire deck. The inserted card is now face up and the halves of the deck have been switched.

Push the face-up card flush. (See Afterthoughts.)

What you've accomplished is to get the KC to the top - and there's an indifferent card interlaced between all the club cards. A straight "out" faro, of course, accomplishes the same thing.

•413-

Then, I get a break under the top (face) FIVE cards for the Atfus move. It's done exactly as if only one card were "broken." Steal the block of five cards as you slide the QC onto the deck. Maintain a right thumb break between the block and the other queens. Replace the block onto the deck as you slide off the second queen, etc.

Place the deck to the table. Say, "Your card is a club. Watch!" Pick up the queen packet. Elmsley Count them as four cards. Do your magical gesture and turn them face up showing that the queen that matches his card's suit has vanished. (First climax.)

Ribbon spread the face-down deck from left to right, exposing the selected club card face up near center. Tell the spectator that he selected a magic card. Using its value, count that number of cards to its LEFT. Turn up the card at which the count ends - it's the missing QC! (If the face-up card is the 5C, count 5 cards to its left, etc. The jack is 11 and the king is 13-) If you've followed my instructions up to here, this MUST work.

I don't bother crimping a card either.

After the Atfus move, I turn the deck face down and simply riffle up at the rear end, spotting the KC. I cut, bringing the KC to the top then faro. Or; I leave the clubs at bottom, do the faro, then riffle up at the rear, locate the KC (it's near center) and cut it to the top.

You'll find another switch (secret cut) of the half decks - after the stopped-at card is inserted by the spectator - in Bill Simon's EFFECTIVE CARD MAGIC, in an effect called, Business Card Prophesy. The handling I've always used to accomplish this (for other effects) is to hold the upper half (all cards above the protruding one) as I flip over, and onto the top, all the lower half INCLUDING the protruding card. (See Fig. 2) which shows that lower half being flipped onto the top.

Let me get back to the "spectator stop" for a moment. On the chance that you're stopped on the card just before the QC (14th card), you'd end differently. Place that card onto the already-dealt cards. On top of the deck now will be the QC, an indifferent card, then the 2C. Do a triple lift, showing the 2C. Turn down the lift. Place the top card (supposedly the 2C) face down in front of the spectator.

Show the top card of the deck and place it onto the tabled, dealt, cards.

Get a left little finger break under the top card (2C) as you pick up the dealt cards with your right hand. Place this (dealt) packet face up onto the face-down deck. Turn all the cards beneath the break face up and replace them. The 2C is now reversed (face down in the face-up deck). Cut a few cards from bottom (rear) to top, to center the 2C. To end, vanish the QC from the queen packet, as described. For this, ribbon spread the deck face up. The face-down card appears at center. Lead the spectator to believe that this is the missing queen. Turn it face up, exposing the 2C. Turn up the card in front of your spectator, to show the QC!

Then, I flip over all the face-up cards above the protruding one. That's all; the work is done.

Finally, I find it easier to ask the spectator to give me any number between 1 and 25. rather than have him stop me as I deal. Then I don't have to keep a mental count as I deal.

And, I know immediately, of course, if his number is odd or even. If he happens to select #15, I end as I explained when stopped on the QC. It becomes a pretty strong ending this way.

If you're stopped right ON the QC as you deal, try to talk him into continuing. If he insists, you can simply place it in front of him. Then vanish the QC from the queen packet, and show it in front of him.

Afterthoughts: What I've been doing is to set all the clubs at the bottom of the deck; king, jack, 9, 7. 5. 3. ace, 2, 4, 6, 8, 10.

This is easier - it can be done during a previous effect - and it affords more shuffling leeway.

The routine is nowhere as long as the explanation. Work on it; it's good.

Watch for the "blockbuster" January, 1981 (anniversary) issue!

NEXT MONTH Don England - Silver Streak Scotty York - The Ring's The Thing Jim Laconte - Escape!

Anonymous - Squeeze-Out

Barry Govan - J-A-W-S Shigeo Takagi - Coins And Coasters John Fedko - Exchango plus...

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

'414

THE "PLOYER'S" CLUB Frank Garcia (FG) v/rote an "open" letter re: my words about his blatant stealing, plagiarism, and dishonesty in the Apr. & May, 1980 issues of Apocalypse (A). It appeared in KF's rag. They make a great pair of jokers! I don't know who's teaching who, but they both use the same, obvious, ploys. One ploy is - making statements supposedly supplying great NEW information when that information has long been established. Their other ploy is to blatantly steal from everyone & then accuse everyone else of stealing from them! The mind literally boggles - every statement FG makes is an out and out lie!

Understand tn:it ziiis "letter" is . ! >. person -whose actions and (lack of) ethics & morals forced another1 magician to take ads i â&#x20AC;˘ : ^ magic mags, stating that FG is a thief, and who was the headline of a magic columnist's article; it reads, in M o c k letters, FRANK GARCIA IS A THIEF! I wasn't going to bother answering his pack of lies - he'll only invent new ones, so what's the point? And, I've given him enough free publicity. But, he's pulled another "beauty" - in his new(?) pamphlet - that I must discuss, in a moment. (Oh, this article you can Xerox! Show it to your friends!) He states in his letter that my linking-card routine isn't mine! Says Don England showed it to me. Fact: I NEVER MET DON ENGLAND. All you have to do is check it with him. He's mentioned in QUANTUM LEAPS (QL); I explain how he used my routine. Now, please - read this actively - pay attention. Be aware, because you must accept some of the responsibility for the existence of these jokers! If you support them, part of the responsibility for their injury to magic is yours - just as part of it is mine. Know with whom you're dealing.

Here's that "ploy" - Frank talks about other people using the routine as if he's handing down one of the Ten Commandments. Do something. Pick up the Oct., 192*3 issue of A. There's that exact information! How it was used by others after I devised it. He states that I never showed him the routine. Fact: I have witnesses! He even told me, a week later, that KF said it had appeared in his rag. I said - show it to me & I'll eat it! Hasn't been shown to me, or anyone, yet - because it's a lie. FG states that he didn't know it was to appear in QL. It's difficult to deal with such outrageous lies, a) I have witnesses that I told him it would appear when I taught it to him. b) He sold it as his after QL appeared!

(I have letters, dates, proof, etc.) And, again, check the Oct., 19Z8. A. (Also check QL, page 154, 3rd paragraph down, and the bottom of pg. 156 to 157. You see, I anticipate the Garcias!)

Now, KF spouts his bile. And this is typical (read my Last Word in AFTERTHOUGHTS). In a parenthetical note, in righteous tones, he pontificates - "Not to mention the fact that the trick... exactly follows the handling of an old linking rubber band routine." This, of course, is yellow, vicious, journalism at its best - he hopes you'll think, "HL sneakily stole a rubber band idea, etc." Well, don't just sit there! Turn to pg 149 of QL, lines 11 & 12, 'where I tell you about the rubber band puzzle. Do you see with what you're dealing? All you have to do is check it out.

(And, the rubber band thing is a puzzle; my linking card routine is a complete piece of magic it's the routining that makes it! ) And this from the thief who put out a trashy thing - a rip-off of my THE EPITOME LOCATION and conspicuously never mentioned my name. Just check it out!

Now, hear this! Mr. Garcia calls me a "researcher." This is the person of Wild Card "fame" Wild Card is Peter Kane's; the person who sells David Roth's portable hole effect at his lectures as his! (Been told that David "faced" FG with this theft; F's answer was, "Yeah, I stole it get lost!") He actually says, "When I write a book...it can be proven that I always credit, etc."

That's incorrigible! Check his first magic book - he credited NO ONE. Ask J. Racherbaumer for a copy of his research - he gives all proper credits. Not one item is Frank's! Can you think of one original Garcia idea!? Just check it out!

Mr. Garcia had to include credits in Super Secrets (SS) due to the magic fraternity's uproar.

Still, no credit to me for The Moving Pencil, right out of my book, CLOSE-UP CARD MAGIC. (He calls it Uncanny Revelation.) In his book for the public (with G. Schindler) no credit to me for my Push-Through Change (CUCM). All you have to do is check it out.

Mr. Garcia now uses a typical criminal's ploy. He subtly (he thinks) paves the way for his next outrageous crime. He talks about my routine, Magician Vs Gambler (MvG); it seems he_ worked it out. And, he showed it to me. & I stole it - put it into a pamphlet & never even mentioned Dr. Daley, etc. My God, can he be serious!? The lies, ploys, convolutions, leave me speechless! FG never showed me anything that wasn't already in print. Do something; pick up PERSONAL SECRETS (PS) and turn to my MvG & look at the very first sentence. If Dr. Daley & P. LePaul aren't credited as my inspirations - I'll eat it! (Same ploy - FG also cites a "triumph" item from QL as his proof(?) of my stealing. He says I asked him for this item, and he refused. R. Kaufman is my witness - he was there! Check with him. I did ask; Garcia said the item was his, and offered it for A! It wasn't, and isn't, his. In QL, I give whatever credits I had at that time. Martinez is credited in a later A. I explain the original & my variation, saying it's a variation. FG accuses me of making it mine, & giving no credits. All you have to do is check it out. Nothing new with FG. In his nev:(?) pamphlet he includes Gambler's False Cut; says fleetingly that it's in Hugard's, & "no mention of an author." It _is in Hugard's; June, 1958, under the same title (he didn't even bother to change i t ! ) . He offered me that item for A. Seemed familiar; I checked - IT'S MINE! Sent him a copy of it. My name is directly under the title! Check it. Is he blind? Or just a liar?! Just check it o';t'a Are you now a-vare of the lies & activities you're putting up with?

FG's "set-up" crime: In his pamphlet is MY entire MvG routine! Now listen! I devised that routine in I960; it appeared in my lecture notes in 1962; included it in PS in 1964. I've performed it & taught it at every lecture. In my new lecture notes (March, 1980), I include it again with all my psychology & complete patter - I was asked to do so. The routine, I'm proud to say, has become a classic & has been closely associated with me all these years. (And in his ads, FG has the

audacity - "chutzpah" - to talk about "completely nev;" & "closely guarded" effects!) In his intro. to the theft, he repeats the idiotic lie from his letter. Says I took the routine - & get the next line; Robert Orben would kill for a line this funny - Garcia says - "So many are doing it these days" (stealing). My God; has a more obviously jet black "pot" ever called a kettle black more loudly!?

There's a F. Cyprian routine in SS - Two Gmblrs & One Mag. - & Frank says, "F. Cyp. worked with a Lorayne routine..." In the credits, he says, "evolved from Lorayne's MvG - PS." Does that make you stop & think? If this was his routine (as Wild Card, Portable Hole, etc., etc., - are!) would he have credited me back then, in 1973?! And, if he hadn't just made up this entire flim-flam-scam lie, do you really believe he's so sweet & kind as to have waited 20 years to say I stole it from him!? Who the hell does he think he's kidding? YOU - that's who!

It's mv_ routine, it always has been, & everyone knows it. It's yours for $^.50 in PS, or for $7 in my nev/ lecture notes. If you want to spend $12.5° for his pamphlet, for my_ routine, which he not only stole, but louses up badly - completely wrong psychology, etc. - that's your red wagon, & you'll have to keep draggin 1 it along. You have to accept the responsibility. His theft of MvG, among other things, has to be the most obvious & blatant piece of downright thievery within my ken, & within the ken of every "in" cardman I've spoken to! And if you go along with it, accept it, you must share some of the blame for the Frank Garcias (and KFs) of the magic world!

In his "letter," he says he "thought we were friends." So did I! In a monthly column I wrote over 30 years ago, I often said that he was most talented. (He is; I've never said otherwise. I'm discussing his lack of ethics, morals, originality & creativity; his plagiarism & his lies. And I don't do it with a glad heart; I'm not enjoying it. I just feel it's time somebody said something!

And, it may help me avoid an ulcer! It's sad, because he is too talented to stoop this low - he shouldn't have to lie & steal.) His effect was in my first magic book, etc. It continued through the years, up to & including recent issues of A. (You can wile away a couple of winter nights looking for my name in Frank's books.)

He states (in the letter) that he can "open up. ..a large can of worms" about me. I wish he would because I don't know what he's talking about, & neither does he! But, I can tell you tales about FG that would curl your hair. If I ever mention his name again - which I doubt - I may show you some of the pages of old (1950's) Gen Mags, whose exact words found their way into FG's books!

Talk about a researcher; he's a past master! All you have to do is check it out!

The late Francis Carlyle was one of the sweetest persons I ever knew, & a dear friend. He told me a story. FG asked him for an effect. Francis said he'd show & teach it to him only for FG's personal use. He begged FG not to show it to anyone, much less publish it - that he used it in his close-up act, etc. He made FG vow. FG vowed. The routine appeared in FG's next book without any mention of Francis Carlyle!! Francis cried when he told me the story - about how he trusted FG; he cried when he told the story to others.

FG writes that he never said "now you don't have to buy HL's book" at a lecture (after showing effects out of it.) Fact: I have 3 reliable witnesses - friends; who've never lied to me before, why should they lie now? - who told me he did; at a lecture in Franklin Square, N.Y. Frank lies.

He denies selling my linking card routine as his own at lectures in Europe. I have the angry letters from French magicians telling me that he did. Frank lies!

Finally, one specific example to give you a bit more of a perspective on Mr. Garcia. He put out a Stars Of Magic item - McDonald's Aces. The 3 changes, the concept, aren't his. Check K. Krenzel's routine in M.U.M., August, 1961,• (As usual, FG made it his; just check it out.) In the 1930's, Dr. Jacob Daley & S. Leo Horowitz put out a pamphlet - Aces High. I'll quote verbatim from parts of the introductions of both items. Please read them both carefully: From ACES HIGH (1930's) ...Since the invention of playing cards, and their use by magicians, ace tricks have held the interest and fascination of the magician.

Probably the first card trick ever invented was an ace trick, and ever since literally thousands of four ace routines have been invented, and many more no doubt will continue to appear. If all the four ace effects that have heretofore been published were gathered into one volume, it would indeed be a tome of pretentious magnitude.

Yet how much of this material would really be worthwhile and usable?

The double face principle is utilized, but in a manner that the onlooker never suspects their presence you too will be in possession of a four ace routine that cannot help but build prestige and a reputation for you.

From F. Garcia's McDonald's Aces - 1972 ...Since the advent of Playing cards, and their use by card handlers, Ace tricks have held the fascination and avid interest of both laymen and magicians. I wouldn't be surprised if the very first card trick was an ace trick. Literally thousands of four ace tricks and routines have been invented and no doubt many more will continue to appear. Some good, some bad. I might add that if all the ace tricks that have been published, were gathered into one volume, it would indeed be a tome of tremendous magnitude. Yet, if one were to examine all of the material would it really be usable, practical and worthwhile ? „ „0 ...The method is so clean that no one will ever suspect the use of "gaffed" cards. .... .....and this routine will make a strong reputation and build prestige for you.

Mike Bornstein

Bill-Vedere As you fold this quarter, your left fingers cover the front part of the "quartered" bill. This is because, if it were an ungaffed bill, the other half of Washington's picture would show - spectators' view. It won't now.

Your fingers cover that fact. (See Fig. k.)

The bill is held that way - in your left hand.

Mike tells me that there's an effect on the market similar to this. That marketed effect is not really to be done under close-up conditions. Mike's method, on the other hand, is fine for close-up; done properly, there's nothing to be seen. He performed it for me, and it's a startler.

Effect: A dollar bill is displayed, then folded in half so that half the president's picture shows on top. That half of the picture is cut out of the bill. The piece is put away.

The bill is folded, then opened all the way, to show it completely restored.

Preparation: A bill must be prepared.

Since a bill must be cut in half, you can prepare two at the same time. Use rubber cement and the gimmick can be taken apart, after use, and Scotch taped to original condition so that it doesn't cost you too much to keep performing the effect.

Glue a half bill onto a fairly new whole bill. The half should match the condition of the whole, of course. It can be glued onto the whole bill's left or right side. The idea is that half the president's picture (Washington, if you're using a single) is now at one END of the'bill as well as at the center. (Fig. 1.)

Put in two preparatory creases. Fold it once in half, then again - into quarters.

Crease the folds. This will clear up for you as we continue.

Reach into your pocket with your right hand; bring out the scissors. Tap the bill with the scissors and then place them onto the table. This little piece of business is "time misdirection." It takes the spectators' minds away from how the bill should appear in its folded condition. Not one out of a hundred would know the difference anyway, but don't leave out this gesture.

You also have to have a pair of scissors handy. Mike keeps a small pair in his pocket.

He's left-handed, so he keeps the scissors in a left pocket; he also handles the bill accordingly. I'll describe the routine as if you cut with your right hand, as I do. After you're familiar with it, you can change, or add to, the handling to fit you.

Performance: Display the reverse (green) side of the open bill. The gimmicked side is toward you. You can display it horizontally between both hands, as you'd ordinarily display a bill, and/or vertically, in one hand. When ready, hold it vertically with the gimmicked half of the bill downward. (See Fig. 2.)

Now, comes the key move. I'll explain it exactly as Mike handles it. He brings the half picture to the top - for the cutting; I prefer to bring it to the bottom. Approach the folded bill with your right hand. Your thumb goes INTO the folds, beneath the layer closest to YOU. There are only two places your thumb can enter; center, or the single layer closest to you.

The single, closer, layer is the correct one.

(See Fig. 5.)

Fold the top part down and away from you.

(Fig. 3.) From the front, all is as it should be. Half of Washington's picture is at the top crease. (To the audience, the other half of the picture is at the top on the other side of the bill. It isn't - because of the gimmicking, of course.) With your left hand fold, again, down and away from you. This is the reason for the pre-folding - it makes the folding during performance easy and neat.

Push your thumb in and up and grasp the bill as you release with your left hand. This automatically opens it to half-folded condition as you place it directly to your open left fingers. (See Fig. 6) for your view. This is a split-second action, and is done without pause or fidgeting. â&#x20AC;˘415'

To clean up: Snap the bill once or twice, then fold the left side outward over the backs of your right fingers. As you do, remove your right hand and hold the folded bill, momentarily, in your left hand. The cut-out is covered from the front. Take the bill with your right hand, as your left hand foids the left quarter the same way - out and to the right. (Fig. 12.)

Put the folded bill away.

You're in ready-to-cut position. Take the scissors with your right hand and cut out the "half moon" - the half circle of the president's picture. This, to me, is a bit awkward because you have to be careful not to flash the rear of the bill. I'll explain my handling in a moment.

Cut the half moon, until only a small piece remains uncut - that is, don't cut it out all the way. (See Fig. 7.) Place the scissors to the table. To the audience, you're cutting out the entire picture - half on each side of the fold.

Now, from the position in figure 5> I use exactly the same handling, except that as I insert my right thumb and place the half bill to my left hand, I turn my right hand toward myself to "back up" position. This puts the half picture downward. (See Fig. 8.) I find it easier to cut out the half moon with the bill in that position. Try both and use whichever is best for you.

All right; with your right fingers pull out the cut piece - the half moon. Display it (the front of it) and put it away in a pocket.

Bring your attention to the bill and point out the gaping hole where the president's picture was. Take the bill with your right hand - its front always toward your audience - as your left hand folds the top (cut) quarter toward you and down. (See Fig. 9-) You're simply reversing the moves you used to open the bill.

Hold it in your left hand as your right hand picks up the scissors, taps the folded bill, and then places the scissors into your pocket.

"Time misdirection" again.

Make up a gaffed bill and go over the moves a few times, without cutting. Or use play money and do the cutting. After a few run-throughs it will all become clear, familiar, and simple. I haven't included any patter fill in your own.

Now, to show the bill restored. Move the fingers of your open, palm-toward-you, right hand into the single fold again. (See Fig. 10.)

Unfold the bill to your left with your left hand. The cut-out portion is hidden behind your fingers. (See Fig. 11.) Your spectators see the reverse (green) side of the bill, just as when you displayed it originally - and they see it restored!

Afterthoughts: The beauty of this is that no glued areas or cut areas are seen from the front. To your audience, thing looks as it should throughout the routine. â&#x20AC;˘416-

method ever everyquick

If scissors are not available and you want to perform this, I see no reason why you can't tear out the half moon with your fingers. You would have to be careful not to flash the back, or the extra fold at the rear. And - work out something else to give you the time misdirection that the scissors ordinarily give you.

examination - it ends when you put the folded, restored, bill into your pocket. You can, if you like, have a folded-into-quarters regular bill in that pocket. You'd switch that in (or out) for examination.

If you've taken the time to read this lengthy description, don't waste that time by not trying this lovely quick effect.

Finally, this isn't really the kind of effect where you'd have to hand out the bill for

Allan Hayden

One-Cup Routine cup, re-loading the hidden small ball and concealing it and the large ball underneath. Put the visible ball on top of the cup and toss the bag out of your way to your RIGHT. (Fig. 1.)

This is a short (less than 2 minutes) chop cup type routine, but is performed without the use of a magnetic cup or ball. The advantages are that it may be performed either standing or seated, without having to wear a jacket, and still has a double-load climax. Most of the moves are from Dai Vernon's cups and balls routine, with the exceptions of Charlie Miller's penetration and Scotty York's pre-load idea which is in fact the backbone of the whole routine. In, basically, Allan's words: You'll need: One standard Paul Fox or Morrissey type cup. (Any cup about that size should work.) Two three-quarter inch knittedcover balls. Two two and one-eighth inch knitted cover balls. A drawstring bag just large enough to hold the cup. (Mine measures 5 by 5 inches when it's lying out flat.) A close-up pad.

o

Set-up: Set the mouth-up cup onto the table and drop one of the larger balls into it.

Drop the two small balls on top of the large one, then work the bag over the cup. Turn over the bag and tighten the drawstring. Put the other large ball into your left rear trouser pocket. The close-up pad goes on the table and you're all set.

Pick up the ball with your right hand and apparently place it into your left, but secretly retain it in finger-palm position in your right. Hold up your left fist and tell your spectators that they must guess whether the ball is in your hand...(blow on your hand, then show that the ball has vanished)... or under the cup. Lift the cup with your left hand to show that the small ball has appeared under the cup.

To perform: I'll give you all the details, then list the moves in numbered steps, to make things easier.

In order to lift the cup without revealing the large ball, your left fourth finger slides underneath the cup as you lift it, keeping the large ball in place. This is Scotty York's basic move for his cups and balls routine. He has been kind enough to give his permission to use his description from his booklet:

Start by lifting the bag by its drawstring with your right hand and setting it flat on the outstretched fingers of your left hand. Your right fingers open the top of the bag and work the bag down around the cup. Pull the rim of the bag (its mouth) down and over the tips of your left fingers like a mitten. You'll have more control of things if you hold down the bottom of the cup with your left thumb. Your left fingers now curl back and up into the cup (HL: Remember, the cup is mouth down at the moment) holding the two small balls firmly against the inside of the cup, at the point closest to your left palm.

"Pick up the cup with thumb to rear; index, middle and ring fingers to front, and little finger curled into palm. As the cup is lifted, the little finger enters the cup from the rear and retains the large ball in the cup. (See Fig. 2.) The small ball or balls will not be affected. The cup and large ball can be thrown twelve inches or so to the other hand, where the other little finger retains the ball when the cup is caught. If, on the other hand, a small ball has been loaded from the rear, then the little finger sweeps in from the front of the cup so as not to affect the normal showing of these balls." From Scott York's CUPS AND BALLS, March, 1971.

Your left fingers are holding the balls through the bag at this point. Your right hand must now take the cup away from the bag, allowing one small ball to openly fall to the table, while retaining the other small and large ball (hidden) inside the cup. One way to accomplish this is to reach up into the cup with your right fingers and momentarily steal one of the small balls into finger palm with your third and fourth fingers while allowing the other small ball to fall. As your left hand drops the bag and reaches to pick up the small ball from the table, your right hand sets down the

To recapitulate; the small ball has vanished from your left hand, and has now made its appearance under the cup. The ball is on the table, the cup is in your left hand, and the extra small ball is finger palmed in your right hand.

-417-

top of the cup, open your fingers downward to the top of the cup. Allow the ball to drop to your fingertips, where it will rest on the cup, hidden behind your fingers. Grasp the ball and slowly twist your fingers as if you are squeezing it up through the top of the cup. This reverse trap door idea was given to me by John Kennedy, an extremely creative close-up man.

Your left hand now places the cup into your right hand and immediately reaches for the ball on the table. Your right hand loads its finger-palmed ball into the cup as it sets the cup mouth down onto the table. Your left hand places the visible ball on top of the cup.

Explain that there are three things that the spectators should know about the cup. The first is that there is a secret trap door in the bottom of the cup. Pick up the ball with your left hand and make a fist on top of the cup with your right. Your fist should be resting on the cup so that your knuckles face the audience. Your left hand places the ball on top of your right fist, then grasps the cup.

You are now going to make it look as if the ball penetrates the cup. Open your fist slightly, allowing the ball to drop down into your hand, while AT THE SAME TIME lifting the cup with your left hand. Remember to use the little-finger move to hold the large ball inside, as you lift the cup. (See Fig. 3.) Your

Pretend to place the ball into your left hand, but once again retain it in finger-palm position in your right. Repeat the thing about guessing whether the ball is in your hand or under the cup. Blow on your hand, and show that the ball has vanished. This time, lift the cup to find that the ball is missing. Act a little surprised, then grab the bag with your right hand and give it a shake, as if looking for the ball. Replace the cup to the table during this business. Finally, produce the ball from somebody's ear - or from behind a jacket lapel.

Put the ball away into your left rear pocket as you point to the cup with your right hand, saying that the ball will jump from your pocket back to the cup. Lift the cup to reveal the first large ball (simply don't hold it in place with your fourth finger). Your left hand, which hasn't left the pocket yet, steals the second large ball and loads it into the cup. This is quite easy because everyone will be looking at the large ball on the table.

(Your right hand places the cup into the left, loading the ball.) Your right hand immediately reaches for the large ball on the table. Your right hand then tosses this ball into the air as your left hand sets the cup mouth down onto the table.

When I'm ready to reveal the second large ball, I usually say, "I wonder how a ball this size could have gotten into the cup...especially with this OTHER ONE!" I say the words, "other one," just as I lift the cup to reveal the second load.

right hand again takes the cup, loading its ball into it, while your left hand picks up the tabled ball. Set the cup back onto the table, the loaded ball underneath. This is Charlie Miller's move. A more detailed explanation may be found on page 188 of THE DAI VERMON BOOK OF MAGIC, by Lewis Ganson.

Although this routine does take a little work (to make sure that you're covering the angles), I've found it very useful in restaurants and bars where a three-cup or other double-load chop cup routine is impractical.

Tell the spectators that the second thing that they should know is that if you should try to hide the ball in your pocket, it will immediately return to the cup. Place the visible ball into your left rear trouser pocket, show your hands empty and lift the cup to show that the ball has returned. I lift the cup with my left hand, then toss it a few inches through the air to my right. This casual, toss-around handling will prove (?) that the cup is empty.

Scotty York's pre-load idea is not only very effective, but also makes the trick easy to carry around from table to table.

Sequence of steps: 1. Remove cup from bag and place on table, keeping one small and large ball hidden underneath. Toss bag to right side.

2. Vanish ball and show that it is under cup. Right hand loads second ball as cup is replaced to table.

3- Ball penetrates bottom of cup. Second ball is re-loaded.

4. Ball is placed into pocket, then shown to have returned to cup.

5. Reverse penetration. Ball is removed from bottom of cup.

6. Ball is vanished and cannot be found under cup or in bag; it's finally produced from a spectator's ear.

7. Ball is put back into pocket and first large ball is revealed under cup.

8. Second large ball is loaded while first is being shown.

9. Second load is revealed.

Replace the cup to the table and apparently roll the ball under it from behind, as the cup is tipped forward with your right hand.

Actually, the ball is not rolled under the cup, but into the fingers of your right hand. This move is described on page 132 of THE DAI VERNON BOOK OF MAGIC. (See Fig. k.)

With the ball finger palmed in your right hand, point to the top of the cup with your right forefinger and say that the third thing that everyone should know is that the trap door will work in reverse, enabling you to steal the ball out through the top. With the back of your hand toward the audience, and your forefinger pointing straight down and touching the â&#x20AC;˘418'

Salomon Cohn

Mysterious Traveler

The timing used here will take just a few tries before it all falls into place. The same is true of the angles. You need two coins, half-dollar or silver-dollar size. You're seated at a table opposite your spectators.

To prepare for performance you have to rear thumb palm one coin in your right hand; the other coin is on your left palm.

thumb-palmed coin is practically tossed into the hand. From the position in Figure k, your hand moves (diagonally) down and to the left naturally turning palm toward you. The coin is released during the hand's downward movement (simply open your thumb slightly) and caught in the hand as the hand closes into a fist.

(See Fig. 5 for a stop-action view.)

Start by holding both hands, open and palm up, near and just above the table edge. You're displaying a coin on your left palm; your right hand appears to be empty. You have to watch your angles; your right hand tilts slightly to the right so that the rear-thumb-palmed coin is "shaded." (Fig. 1 is an exposed view.)

Note that your left hand is in position to lap its coin.

Your attention, as this is happening (it's an instant action) moves to your closed left hand. Squeeze your left fist, or blow on it, or what-have-you. Open it, showing it empty.

Say, "Now," Open your right hand to display the coin. Both hands are palm up, just as at the start - the coin has finally traveled!

Your patter at this point is - "I want to make this coin (indicate the left-hand coin) travel to this hand (indicate your empty(?) right hand)." A_s you're concluding this statement both hands close into fists and the lefthand coin is lapped.

I don't think I have to go into detail here. The coin is lapped as your hand turns palm down, closing into a fist - in the fairly standard manner. (See Fig. 2.) Both hands .nove in unison, closing into fists and moving above tabletop level. Your right fist is little-finger-side toward audience; thumb side tilted slightly to the right - again, to "shade" the thumb-palmed coin. (See Fig. 3.)

Afterthoughts: This is pretty. It's the "delay" aspect that makes it good - the showing of the empty (?) right hand, as you say, "Not yet." The "toss" of the rear-thumb-palmed coin into the hand reads complicated, but is quite simple really. Try it a few times, and you'll have it. Obviously, the lapping of the lefthand coin has to be done neatly and imperceptibly.

This all takes a second. Pause for a beat, then open your right hand to show it empty, as you say, "Not yet." (See Fig. 4.)

It's as you close your right hand that the

Get the timing right, watch your righthand angles, and you've got an impromptu little beauty.

=419 =

Ellipses (...)

Over 30 years ago, I lived in Miami Beach for a short time. I was doing close-up magic wherever and whenever I could. An acquaintance told me about this great "trick" someone did.

Nobody could figure it out - perhaps I could. He took me to an old, beat up, night club in Miami City. He pointed out the fellow at the piano playing cocktail music. At his next break, I was introduced to him, still at the piano. He did his trick for me. This is what I saw: He reached into his right jacket pocket for a coin. He opened his right hand, held it palm up, to show me a half dollar. He placed it into his left hand. It looked like a standard classic-palm retention, so I kept my eyes on his right hand. Without a false move he opened his left hand - no coin. Then, immediately started playing the piano to show that both hands were empty. I said, "You fooled me; the only thing I can think of is that you sleeved it, and if you did I didn't catch it at all."

He said, "No, no. I'll do it again." He pulled up both sleeves this time. Reached into his pocket, showed me a half dollar, and repeated the vanish exactly as before. I hung around all night! When he was off duty, I did some card and coin stuff for him. He did only that one trick. After I taught him one or two simple things, he "tipped."

He turned his right hand palm up, and showed me a half dollar. He was silent; I waited.

He said, "That's it." I said, "That's what?" He said, "Take the half dollar." I tried. Are you ready for this? It was a tattoo of a half dollar! But - it was the best tattoo I've ever seen. Perfectly third dimensional; I'd have sworn I was looking at a real half dollar. That's it. He did the acting quite well and naturally - the reaching into his pocket to take out the coin, the placing of it into his left hand, etc. He never flashed his right palm after the vanish - the piano playing fit in well; you'd swear he couldn't be palming the coin.

There are certain effects only certain people can do. Check with Roger Klause about his dice trick.

It's interesting; sometimes even stories are "stolen." Recently I was told that one or two people in magic are telling this half-dollar story as if it happened to them! Well, I've told it on and off, to magicians, for over 3° years. It got around.

I'm not surprised. And, I'm sort of used to it. There's an ex-athlete who was my partner for a short time. Just long enough for him to pick my brain and learn everything he wanted to know about memory (not everything I know, of course).

He now does appearances occasionally, imitating me exactly, doing the exact stunts I've done for most of my life - just as I do them. And, if he's asked how he got into this area, he'll either say that the Lord taught him (I guess I'm the Lord!) or - he'll use my_ background as if it were his own! Childhood necessity to remember, and so on - when the truth is that he didn't know the first thing about trained-memory systems until he came to me..So I'm sort of used to it. #

#

•

*

I'm overwhelmed by the response to my editorial as to whether I should or shouldn't continue my Afterthoughts (Apocalypse; June, I98O). Many of the letters, cards, and calls said - "If you stop your Afterthoughts, I'll stop my subscription!" It was unanimous! I have no choice, it seems - I must continue the Afterthoughts, when and if I think they're warranted or necessary.

Since I couldn't answer each person individually, I also want to take this opportunity to thank you all for your very kind words.

I also want to thank Goodliffe for his rave (Abracadabra; issue dated May 3, I98O) about my lecture in London. Sounds like I wrote it myself! *** Couldn't fit Russell Barnhart's You Do As I Do effect into this issue...will run it within the next few issues. I lost another good friend (so did magic) - Kirk Stiles, of Miami and Magic Spells and Quarterly, died last April.

Bob King of Rochester, N. Y. sends this off-beat idea, which may just "grab" a few subscribers. He uses one of the small, portable, battery-operated, cooling fans - usually used in a nonair-conditioned car. Attach some double-sided tape to the nub that's at center of the blade or blades - just enough to be able to pick up, and hold, a card. Force a red 3-spot and control it to the top. Touch the center nub to the top card, lift the card, and start the fan. Tilt the card toward your spectator. The rapidly spinning 3-spot looks like an ace. Say, "And there's your card, the ace of (say) hearts." He denies it. Ask for the name of his card, and switch the fan to "off." As it slows down, the card seems to change to the 3H. I prefer to arrange it so that the (say) AH is under the 3H. Double lift, showing the ace, then do the fan bit. For the index - Fantom.

The problem - dealers receiving issues before personal subscribers - has been solved. From now on (started with the August issue) personal subscribers will definitely receive issues first, 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 (including all back issues.)

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.

420

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Lofayne's THREE DOLLARS

VOL 3 NO. 12

DEC. 1980

pocalypse ISSUE NO. 36

ÂŤ COPYRIGHT 1980 by H. Lorayne. Inc.

Sili/er Streak Don England

In my opinion, this is the best gimmick for producing a coin under each of four cards leading into a matrix effect, or any other four-coin routine. Don says that his probable inspiration was a gimmick described in an early Paul Harris book.

First, fold one card lengthwise - NOT in half, but approximately three quarters-one quarter, as in Fig. 1. Place a strip of tape along the crease to strengthen the card at that area.

Now, make four cuts, also as shown in Fig. 1. The cuts go from the long side of the card up to the crease. At the crease, you're cutting through the tape, of course. Note that the bottom flap is about three quarters of an inch wide, while the other four are a-

To make the gimmick, which can be used over and over again, you'll need three cards, some thin tape, and a pair of scissors. Scotch tape is fine, although any tape will do. â&#x20AC;˘421-

bout half an inch wide, are not crucial.

Don tells me that he makes the gimmick out of a bridge size card (he also says that plastic-coated cards work well for the slots) and glues it onto a poker size card. This helps to hide the coins. So far as I can see, they're perfectly well hidden when the gimmick is made out of three poker size cards.

These measurements

Notch the upper left corner of each flap (except the top one) by cutting off that corner. The completed first card should look exactly as in Fig. 1.

i

â&#x20AC;˘TAPS:

The gimmick is loaded and on the bottom of your deck. It can be kept on your lap and secretly added to the face of the shuffled deck. Up to you. Be sure the free edges of the coins point upward, of course. You can shuffle, keeping the gimmick on bottom.

r

c

Holding the deck face toward you, start spreading, looking for the aces - or any four of a kind. When you come to one, upjog it, square the cards, and your left thumb slides the top coin onto the face of the upjogged card (See Fig. 5) as the card is taken and placed face down onto the table. This maneuver is as smooth as silk - all you have to do is try it to see for yourself.

Using any good glue - rubber cement is fine - glue the cut card onto the face of the second, card - gluing only the one quarter, uncut, part of the card. (See Fig. 2.) Now, the flaps must be taped down. Tape down the entire upper' (un-notched) flap. (This flap can be glued down - but this is how Don does it.) You can run the tape (for all the flaps) over and onto the back of the second card, because it will be covered by the third card, as you 1 11 see.

w That's it. Do exactly the same with the remaining three cards. The unloaded gimmicked card is easily lapped. You have a coin (secretly) under each of the four cards - take it from there.

Tape down the remaining four flaps, but be sure NOT to tape over the upper openings.

They must be left open. That is, tape down the lower half of each flap. (See Fig. 3.)

Place a final piece of tape across the lower â&#x20AC;˘ part of the bottom flap, also as in Fig. 3.

Afterthoughts: Break the gimmick in a bit - that is, use it - and you'll cut down the sound of the coin leaving the slot each time.

Done correctly, the loading of the coins is imperceptible.

The final step is to glue a card that matches the deck you'll be using onto the back of the gimmick. This serves two purposes; it hides the tape, and adds strength (and life) to the gimmick. That's it. The completed gimmick has four slots; each one comfortably takes a half dollar. (See Fig. 4.)

You might also try upjogging all four cards and then loading as you place each one onto the table. Don does it as described.

I have another gimmick from Don which enables you to produce four coins simultaneously and instantly. It'll run in a future issue.

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

PUBLISHED, WRITTEN, EDITED:

Harry

ILLUSTRATIONS: JOE WIERZBICKI

= 422 =

Barry Govan

J-A-W-S

The title stands for Joker-And-WalletSplution. Barry tells me that Tom Gagnon came up with this problem originally in a letter during the early part of 1976. The original problem involved an envelope. Barry sent a solution to Tom a few weeks later. After that he decided that the joker and ace routine would be enhanced by the use of a wallet rather than an envelope. He simplified the routine, and this is the result. I agree with the use of a wallet instead of an envelope. It makes it an impromptu routine. The wallet can be borrowed.

b. Take a real ace from the horizontal row and place it on top of the deck. Say, "Watch; I'll do it again." Double lift to show a joker. Turn down the lift and deal the joker(?) face down to the table.

The effect is this: Four face-down aces are placed in a horizontal row on your working surface. A joker is shown and placed into a wallet in full view of the audience. An ace is picked up, tapped against the deck and shown to be a joker. The wallet is opened by a spectator and the ace is removed, a transposition having taken place. This is repeated with the remaining three aces; each time an ace turns into a joker and the ace is taken out of the wallet by a spectator.

5. Take the ace out of the wallet yourself this time and show it. Place it aside with the first ace. Place the supposed joker into the wallet.

Set upi Use any wallet that can be flipped open as it lies on the table. The four aces are lying near the wallet. Three jokers are set up on top of the deck.

6. Hold the deck in your left hand and pick up a real ace with your right hand. Place it on top of the deck. Say, "The magic will work even if I place the ace to the bottom of the deck." Lift off two cards - supposedly only the ace - and place to the bottom of the deck. Place the deck in front of a spectator and tell him to turn the entire deck face up.

A joker will show at face.

Performance: Pick up the four aces and fan them face up. Get a little finger break beneath the top two jokers of the deck.

Square the aces onto the top of the deck as, at the same time, you steal the two jokers from the top, adding them to beneath the aces as you take the ace packet off with your right hand.

7. Leave the deck face up and remove the card from the wallet - showing the third ace.

Place this ace face up with the other two discarded aces.

Do the standard Braue Add-On. Your left thumb pulls the top face-up ace of the righthand packet onto the deck held in your left hand. The right-hand packet flips this ace face down onto the deck.

8. Pick up the deck. The joker is still showing at face. The last ace is concealed beneath it. Say to the spectator, "Let's keep track of the joker. Would you sign your name on its back?"

Repeat with the next two aces and then place the remaining three-card packet (supposedly the last ace only) onto the deck and flip the last ace face down.

9. As you talk, lift the two face cards as one with your right hand and flip the deck face down with your left thumb. Replace the face-up double card on top of the deck, holding a momentary break.

Deal the supposed four aces face down onto the table from left to right. The actual order is ace, joker, joker, ace.

10. Turn over the two cards as one and say, "Please sign the back. That way we can keep track of it." He actually signs the back of the ace; he thinks he's signing the joker.

Now, in numbered steps: 1. Open the wallet, showing nothing inside. Triple lift to show a joker. Replace the lift and deal the top card face down into the wallet. Have a spectator close the wallet.

11. Give this signed card to the spectator and tell him to place it into the wallet.

Have him close the wallet.

2. Pick up one of the aces (actually pick up a joker) and place it on top of the deck.

Tap this top card and turn it over to show that it is now a joker. Tell your spectator to remove the card from the wallet. As he does this, top change the card in your hand for the top card of the deck. (There is ample misdirection for this. ) The spectator will have removed an ace from the wallet. (Fig. 1.)

ing it, the ace

12. Take the last ace(?) from the worksurface, tap the back of the wallet with and turn it over to reveal the joker. For climax, let the spectator remove the last from the wallet.

Afterthoughts: Instead of a top change, in Step #2, you may prefer to do a second deal.

(I personally would use my own Ultra Move - it fits perfectly.) Either one is done on the off-beat; the misdirection is strong.

3- Take the ace from him and place it aside, face up. Now say, "I'll put the joker in the wallet again." Do this with the card in your hand; it is, of course, already an ace.

"423-

Scotty York

The Ring's the Thing

Scotty thinks that Roland Hurley's Ring Opening (Apocalypse; D e c , 1979) is just fantastic. (So do quite a few others.) He raved about it to me. He had the rings made, as explained in that issue, and uses the effect (for the money) quite often. But, he also devised a variation that I believe is an extraordinary idea. It saves the expense of buying the duplicate rings, cutting, soldering, etc.

It's almost impromptu. Listen...

Your left hand is held fingers pointing upward, palm toward you. That hand remains stationary as your right hand, bill-ring still on thumbtip, moves to take off the ring. It approaches normally, thumb to palm side, fingers behind your left fingers. The moment your right thumb is out of sight, it places its ring into left thumb palm! Your right fingertips are at the outside of the real ring - as they normally would be. (See Fig. 2.)

Probably the first dollar bill fold (origami) magicians learn to do is the finger ring. I have to assume, in order to teach this, that you know how to make a finger ring with a dollar bill. If you don't, I think you'll want to learn how after you read this.

Immediately move your right thumbtip INTO the linked bill-ring (Fig. 3 ) , and remove the real ring. I'm breaking this into steps for you. In action, it's an instant, and completely "shaded" maneuver. The movement of your right thumb is short and quick - and everything is normal-looking from the front.

with your with with

You'll need a plain-banded type of ring, or without a stone, that fits loosely on left third finger. After you're familiar this routine, you'll be able to experiment ring sizes.

Fold a finger ring out of a bill; if you can, make it a narrow-banded one. But - when you fold it, link it into the real ring! Easy to do, of course; just link them as you're folding the ring. Place the real ring onto your left third finger; the linked bill-ring is on the palm side of your hand. (Fig. 1.)

That's all the preparation. If you can fold the ring quickly, you can do as Scotty does when he wants to present this, he simply finds a moment alone to prepare.

It continues to look normal as you completely remove the real ring. There was a bill-ring on your right thumbtip when you moved to take off the real ring, and there's still a bill-ring on that thumbtip. (Just a bit of experimenting will show you how to position the bill-ring on your thumbtip so that the stolen, linked, bill-ring ends up in the same approximate position after the switch.) And - your right fingers cover the linked areas! (See Afterthoughts.) Display the two rings as if they were separated. (See Fig. 4 for your view.)

Place them onto your spectator's hand, closing his hand over them (as in a sponge ball routine). Ask him which ring he'd like you to use for a magical experiment. Whichever he indicates, tell him to use the thumb and forefinger of his free hand to reach into his closed hand and take out only that ring.

Presentation: Offer to make a dollar bill ring for your spectator. You can use your own bill, or his. Fold the ring as quickly as you can. Try this, and you'll see that the hidden linked bill-ring stays hidden (it has to, of course) and doesn't get in your way. Simply curl your left third and fourth fingers, and keep them that way. You really need only your left thumb and forefinger (and your right hand) to fold the ring.

He tries this and, of course, has to come out with both linked rings. The magic has already happened!

Afterthoughts: The ring you visibly folded is in left-hand thumb palm. This is easily ditched either as you place the linked rings into your spectator's hand or as you go into a pocket for a cigarette or matches, or whatever, as he's holding them and you're talking about doing a magical experiment with one of them.

Complete the ring, display it, and place it on your upright right thumb - as part of the display. As you say that you want to use another ring, it appears as if you simply remove the real ring from your left third finger. You actually switch the bill-rings as you do - and the method is beautiful.

Don't, of course, place the real ring back on your finger with the bill-ring still linked to it! Either put them away and make another ring for your spectator, or unfold to remove the ring, then re-fold it and give it to him. â&#x20AC;˘424-

Incidentally, when you prepare the bill ring, fold it as tightly as you can. It's better if your spectator has trouble unfolding it after the linking. So, make it tight and narrowband.

lieve it's a worth-the-subscription-price idea!

If you've followed my Out To Lunch column from the beginning, you've read my psychology on "getting the tips" when doing table magic.

This would make a great "get the tip" item.

You'd prepare a $5, $10, or $20 bill-ring, according to where you're working. You'd also have to work out a way to present this near the end of your close-up presentation (like slipping the ring onto your finger as you reach into your case for something else, etc.).

Then, borrow a matching denomination bill. At the end, open the linked bill-ring in order to return it° Done properly, the odds are you'd hear, "Keep it"!

Scotty tells me that he originally presented this, and still does occasionally, as an instant link. That is, you can show the rings linked the moment you remove the real ring. One minor problem with that presentation is that there's a bit of "heat" on your left hand. You'd have to ditch the thumb-palmed ring after the effect, whereas in the presentation described you're "clean" for, and at, the ending. Scotty gets a much stronger reaction with the delayed-linking presentation. I agree.

Work on this, learn it.

I honestly be-

The next issue mailed to subscribers will be the blockbuster January, 1981 - anniversary issue. It is scheduled to be mailed during the first week of December. If your $30.00 subscription renewal (foreign! $33-5° 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 j

Russell

Barnhart

Do As I Do Prediction Tell him to shuffle his deck again. As he does, do the top-card cover pass. I've explained the basics of this in both THE CARD CLASSICS OF KEN KRENZEL and QUANTUM LEAPS. (Fig. 1 shows it happening.)

Short, sweet, and clean; plus the "kicker" of a prediction, makes this something you may want to include in your repertoire immediately.

The only sleight, except for a simple double lift, is a top-card cover pass. That's the cleanest way to do it, and I have to assume that you can perform the sleight. However, in my_Afterthoughts, I'll explain a method that eliminates the pass.

You need two decks, one red-backed and the other blue-backed. Red and blue are interchangeable, but for explanation purposes - secretly get one blue-backed card (say, the 5H) to the bottom of the red deck. Get the redbacked mate (5H) to the top of the red deck.

That's all.

To perform: Write a prediction - "Five of Hearts" - and place it aside. Let your spectator point to either deck. He must end up with the blue deck, so use "magician's choice." (If he points to the red deck, take it. If he points to the blue deck, let him take that.) Or, simply hand him the blue deck.

Tell him to shuffle his deck, as you shuffle yours. You have to keep top and bottom cards in place, of course - and don't expose the blue-backed card at bottom. Tell him to take any card from his deck, he's not to look at it, and to place it into the center of your deck. Spread your cards so that he can do that - again, careful not to expose the bluebacked 5H at bottom.

This accomplishes two things: It brings the blue-backed card he just inserted to second from top, directly beneath the red-backed 5H and, it brings the blue-backed 5H to center.

Tell him that, now, you'll do the same thing - you'll put any red-backed card into his deck. Ask him to spread (or cut) his cards as he does, prepare for a double lift. Take the two top cards of your deck, as one, and place it into his deck. (See Fig. 2.) The

Square, obtaining a momentary left little finger break above the card he just inserted.

•425"

lower card of the lift (indifferent blue-backed card) coalesces with his cards, of course. Let him square his cards.

5H to center deck. You'd have to pencil dot it or mark its back in some way. Now, when you spread your cards to let him insert any blue card, you have to break below the marked 5H. He inserts his card there. Square, obtaining a break above the red 5H. Then, simply double cut (or cut) to the break. You're in proper position.

The work is donej all that remains is the buildup and ending. You each ribbon spread your decks. Of course, there's an odd card at center of each. Turn over these two cards they're the 5H's. Let him read your prediction - to end!

In the new book I'm writing right now there'll be some new, interesting, handling on the top-card cover pass, plus some great effects utilizing it. You might also want to check my effect, Automatic Mind-Reading (CLOSEUP CARD MAGIC) for a similar (no prediction) idea.

Afterthoughts: As I said - short, sweet, and clean. I haven't included patter and presentation. That's individual, and up to you.

You can eliminate the cover pass (although I don't suggest it) by placing the red-backed

Shigeo Takagi

Coins and Coasters

This two-step, four-coin, routine is beautiful in Shigeo's hands. What you need are two coasters; the things on which you put your drink glasses so as not to mar the tabletop.

They have to have a bit of a "lip," and the size is not too crucial. They're available in plastic or wood. Shigeo gave me two pair; the coasters in one set are approximately 3i inches across. The other two are about 3 inches across.

Both sets work just fine.

c) Pick up the second coin with your right hand, pretend to place it into your left, but really retain it in your right. Do a lefthand gesture (opening the hand) over the coasters, showing that the coin is gone.

You also need a small dollop of magicians' wax, and about fifteen to twenty half dollars.

To prepare: Place the dollop of v/ax off center, to the side of the inside surface of one coaster. Adhere one coin to the wax. Call this coaster "X." Place four coins into the second coaster (coaster "Y" ) and place (nest) that onto the first coaster. All remaining coins are placed into your left jacket pocket.

d) The following is used each time you show that a coin has magically traveled to the coasters. Place your left hand, palm down, onto the coasters. Pick them up and turn your hand palm up, turning over both coasters.

Without pausing, your left thumb pushes off the top coaster ("Y"). It tilts over so that it lands on the table mouth up. (Your left fingertips help it to tilt over.) (See Fig. 3.)

This displays two coins in coaster "X" (left hand). One of these is the affixed coin, of course.

Phase #1: a) Show the nested coasters on the palm of your left hand and then dump the four coins onto the table by turning over your hand. With your right hand, take "Y" and place it mouth up near the four coins. (See Fig. 1.)

Place "X" (the coin remains hidden, of course) mouth down, canted at one side - rim to rim.

(See Fig. 2. )

e) Do the Utility Coin Switch. That is, turn over your left hand, apparently dumping the two coins into your right hand. Actually, only one coin leaves the coaster, joining the hidden (up to now) right-hand coin.

b) Your right hand picks up one coin and drops it into "Y." Your left hand places "X" flush (mouth to mouth) onto "Y." -426.

c

(Apocalypse ^ndex for \folume 3 1980

The Effects: BILLS Bill-Vedere (Mike Bornstein) Change-Over (Max Londono ) Five And One (Tom Ogden) Modernized Cap And Pence (Scotty York) Ring's The Thing, The (Scotty York) Star Warp (Howard Schwarzman) ........

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No.11, page 415 No.l, page 297 No . 9, page 385 No .1, page 290 No.12, page 424 No. 7, page 36I

BUSINESS CARD Dotted I (Anonymous ) In Staple Condition (J. K. Hartman) Time Out! (Mark Levy)

No . 3, page 324 No.l, page 293 No. 3, page 322

„

CARDS Abacus (Phil Goldstein) Aces Loaded (Allan Slaight) Added Attraction (Gerald Deutsch). , All-Fair Moving Collectors (William Miesel) Another Royal Miracle (Jon Racherbaumer) .

Canf ield Connivery (Harry Lorayne ) Card Cocoon, The (Ron Ferris) Card Hop, A (Harry Lorayne ) „ Chased Aces (Paul L. Smith) Coin "Glassic," A (Roger Sherman) Come Forth! (Karrell Fox) Do As I Do Prediction (Russell Barnhart) Double Saltless (Harry Lorayne ).

Exchango (John Fedko) Falling Leaves (Stephen Minch) Fantom (Bob King) Flicker (John Cornelius) Flying Signature , The (Jim Lee ) Frozen Deckery (Michael Ammar) General Card, The (Larry Jennings) Head To Head (Tom Craven) High Spread (Greg Wissmueller) Humble/Arrogant Card Trick, The (Greg Miller) Ice-0-Teric (Michael Ammar)....

Instant Flip-Over Change (Anonymous ) In Staple Condition (J. K. Hartman) c Invisible Coin, The (Tim Wright) . j-A-W-S (Barry Govan) Layla (Francois Ziegler) Lickety-Split Color Change (Doty) Matswitch (Phil Goldstein) „ Modern Jazz Aces (Darwin Ortiz) Monte Plus Minus (Phil Goldstein) Numbers U p (Tom Mullica) Oiled And Watered (Paul Cummins) Port Authority Transit (Michael Farmer) Proof Of The Pudding (Obie O'Brien) Quick HaLo Sandwich (Harry Lorayne ) Quick Sandwich (Tony E c o n ) Recalled (Nick Pudar) Sandwich Spread (Tom Gagnon) Silver Streak (Don England) Snap-In Revelation (Lance Rogers) Squeeze-Out (Anonymous) Star Warp (Howard Schwarzman) Sticky Cards (Marv L o n g ) Swing L o w (Joey Gallo ) Swivel Round-A-Bout (Herb Zarrow) Tele"Vision" (Andre Robert) Three-Card Monte Expose (Jackie Flosso)

No.10, page 397 No .8, page 382 No .5, page 343 ..No.2, page 310 No.l, page 296 No .11, page 409 No.8, page 373 No.l, page 298 No .5, page 339 No.?, page 371 No.9, page 395 No. 12, page 425 No. 5, page 340 No.12, page 430 No .6, page 355 No. 11, page 420 No.2, page 308 No. 3, page 317 No.4, page 325 No.6, page 349 No.9, page 393 No.loj page 401 No.8, page 38I No.4, page 327 No . 2 , page 307 N o . l , page 293 No. 11, page 4 1 1 No.12, page 423 No.11, page 413 N o . 8 , page 377 ..No.l, page 292 ...No.?! page 369 .No'.y', page 366 No. 5' page 345 No.lO* page 402 No 9' page 387 No.lo| pale 406 No .9 page 395 N o o' Bafi.e oqi. !.'..!.No.4 pale "329 N o . 6 ! page 359 No. 1 2 , page 4 2 1 N o . 6 , page 358 No.12, page 4 2 8 No .7, page 36I no.k', page 333 No. 3, page 3 2 0 N o . 6 , page 352 .No.4J page 335 N o . l , page 299

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o

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Transcendental Transpo (Ken Krenzel) Trinity (Norman Houghton) Trip From Center (John Murray)

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<,..No.3i page 313 No.9i page 389 No.2, page 303

COINS Card Cocoon, The (Ron Ferris) Casual Display (Bill Voss)..

Coin "Glassic," A (Roger Sherman) Coins And Coasters (Shigeo Takagi) Copper-Silver Transpo (Geoff Latta) Four-Coin Production (George Eisler) Four-Coins-In-Glass Routine (Philippe Fialho ) Four Opener (Harry Lorayne ) French Drop Cop (David Harris) Instant Coin Change (Russ Burns) Invisible Coin, The (Tim Wright) • Modernized Cap And Pence (Scotty York) Mysterious Traveler (Salomon Cohn) One-Hand Matrix (Milton) Out-Boxed (Woody Landers) Painted Desert (Milton) Pennies From Heaven (William Goldman) Propel-A-Coin (Tom Craven) Rate Of Exchange (Bob Farmer) Shell-Shocked! (David Garrard) Silver Streak (Don England) Soft Sleeve (Sol Stone) Thanks To Ramsey (Jonathan Townsend)...

Three O'clock Nip (Carl Mellish) Three Opener (Bonnie Hammond) Wiped Clean (Michael Ammar)

...

•

„ 0

No.8, page 373 ..No.5, page 347 No.7i page 371 No.12, page 4-26 No. 2, page 308 No.2, page 311 0N0.3, page 321 No . 8 , page 379 ..No.6, page 351 No.3, page 319 No.11, page 411 No.l, page 289 No . 11, page 419 No.9. page 391 No.5. page 337 No.9, page 390 No .4, page 334 No.6, page 355 No. 10, page 404 No.2, page 305 No. 12, page 421 No.2, page 301 No.6, page 357 No.10, page 407 No . 8, page 378 No.7. page 368

CUPS AND BALLS One-Cup Routine (Allan Hayden)

No . 11, page 417

Shell-Shocked! (David Garrard)

No.2, page 305

GAMBLING DEMONSTRATIONS Aces Loaded (Allan Slaight).....

Apocalypse Variations Or Additions (Melvin Anderson) Canf ield Connivery (Harry Lorayne ) „ Head To Head (Tom Craven) „„ Monte Plus Minus (Phil Goldstein) GLASS Coin "Glassic," A (Roger Sherman)

„

No. 8, page No.2, page No. 11, page No.9, page No.7, page •

382 304 409 393 366

No.7, page 371

ICE Frozen Deckery (Michael Ammar) Ice-0-Teric (Michael Ammar) KNIFE Knife Catch (Mario Gonzalez) Knife Interlude (Sol Stone) Sharp Turn (Richard Kaufman)

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No.4, page 325 No.4, page 327 No.5, page 342 No.5, page 342 .No.5, page 342

RING (Finger) (Ring) Knot Really (Michael McGivern) Ring's The Thing, The (Scotty York) Ring Through Rope (Robert L. Brooks)

.No.4, page 330 No. 12, page 424 No.10, page 399

RING (large) Escape! (Jim Laconte ) Ring-A-Ding (Bob Hyans) ROPE Escape! (Jim Laconte) No Knot (Dave Lederman). . .

Ring-A-Ding (Bob Hyans ) (Ring) Knot Really (Michael McGivern) Ring Through Rope (Robert L. Brooks) Sliding Knot, Plus (Blair Bowling)

No. 12, page 429 No.7. page 365 No.12, page No.8, page No . 7, page No.4, page No. 10, page No . 1, page

429 376 365 330 399 2§4

SPONGE BALLS Shell-Shocked! (David Garrard) Sponge Balls - Color Transposition; Production (Meir Yedid) APOCALYPSE VARIATIONS OR ADDITIONS Nos. 2,4,5,8; pages 304,328,347,383 EDITORIALS (Harry Lorayne) .

Nos. 1,6; pages 300,360 LORAYNE STORM, A Nos. 3,6; pages 318,356 OUT TO LUNCH (Harry Lorayne) Nos. 3.8,12; pages 323.383,432

The Contributors: Ammar, Michael Anderson, Melvin

.Pg. 325,327, 368 o.Pg.304

Barnhart, Russell Bornstein, Mike Bowling, Blair Brooks, Robert L Burns, Russ

Pg.425 Pg.4l5 Pg.294 Pg-399 Pg.319

Cohn, Salomon Cornelius, John Craven, Tom Cummins, Paul

Pg.4l9 Pg.308 Pg.355,393 Pg.402

Deutsch, Gerald Doty

Pg oPg.377

Econ, Tony Eisler, George England, Don

Pg.394 Pg.311 Pg.421

Farmer, Bob Farmer, Michael Fedko, John Ferris, Ron Fialho, Philippe Flosso, Jackie Fox, Karrell

Pg.404 Pg.387 Pg.^30 Pg-373 Pg-321 Pg.299 Pg.395

Gagnon, Tom Gallo, Joey Garrard, David Gerhardt, Michael Goldman, William Goldstein, Phil Gonzalez, Mario Govan, Barry

Pg«359 Pg.32O Pg.3O5 Pg.348 Pg.33^ Pg.292,366,397 Pg.342 Pg.423

Hammond, Bonnie Harris, David Hartman, J. K. Hayden, Allan Houghton, Norman Hudson, Charles Hyans, Bob Jennings, Larry Kaufman, Richard King, Bob..

Krenzel, Ken Laconte, Jim Landers, Woody Latta, Geoff Lederman, Dave.

Lee, Jim Levy, Mark Londono , Max Long, Marv Lorayne, Harry

Pg.3^7,378 Pg. 351 ..Pg.293 Pg.4l7 Pg.389 Pg.328,372 Pg.365 Pg.3^9 Pg.342 Pg.420 Pg.313 „ Pg.429 Pg-337 Pg.308 Pg.376 Pg.317 . ....Pg.322 „ Pg. 297 °.Pg.333 Pg.298, 340, 379, 395,^09,432

Marks, Dennis McGivern, Michael Mellish, Carl Meyer, Orville Miesel, William Miller, Greg Milton Minch, Stephen Mullica, Tom Murray, John O'Brien, Obie Ogden, Tom Ortiz, Darwin

No . 2 , page 305 ,,NOI3I page 316 Pg.3^7 Pg-330 Pg.4O7 Pg.3^7 Pg.310 Pg«381 Pg. 390, 391 Pg-355 Pg.3^5 , ....Pg.303 Pg.406 .Pg.385 .Pg.369

Pudar, Nick Racherbaumer, Jon Robert, Andre Rogers, Lance....

Pg.329 Pg.296 Pg. 335 Pg-358

Schwarzman, Howard Sherman, Roger....

Slaight, Allan Smith, Paul L Stone , Sol

Pg«36l Pg.371 Pg.382 Pg-339 Pg. 301,

Takagi, Shigeo Townsend, Jonathan

Pg.426 Pg-357

Varga, Nick...

Voss, Bill

Pg.312 ..Pg.3^7

Wissmueller, Greg Wright, Tim

Pg.401 Pg.4ll

Yedid, Meir York, Scotty

Pg-316 Pg.289,424

Zarrow, Herb Ziegler, Francois

Pg.352 Pg.413

Artwork...Joseph Wierzbicki

The Sleights Described WITHIN Routines: Atfus Move (Mario) Pg Back Clip (coin) Pg-380 Bluff-Pass Finesse Pg.395 Drop Switch (cards) Pg.294 Edge Palm (coin) ..Pg.378 Elmsley Count Substitute (Ortiz).......Pg.370 Empty KS (Rick Johnsson) Pg.387 E-Y-E Count Pg. 367 Fold A Card, To Pg.327 Hofzinser Change Pg.349 Lapping One Of Two Cards (Pudar) Pg-330 Mexican Turnover Variation (Goldstein).Pg.367 Olram Subtlety (Mario) ...Pg.37O Ramsey Coin Move Pg.357 Reverse To Position (Mullica) Pg.345 Secret Addition (Braue) Pg. 369, 423 Spread Control (Lorayne) Pg-359 Tenkai Steal , Pg-318 Turn Switch (Lorayne) Pg.4l4 Utility Coin Switch.

Pg.379

No.l; January, 1980 (pages 289 to 300): Scotty York Modernized Cap And Pence Phil Goldstein Matswitch J. K. Hartman In Staple Condition Blair Bowling Sliding Knot, Plus Jon Racherbaumer Another Royal Miracle Max Londono Change-Over Harry Lorayne A Card Hop Jackie Flosso Three-Card Monte Expose Editorial

The Issues: No.7; July, 1980 (pages 361 to 372): Howard Schwarzman Star Warp Bob Hyans Ring-A-Ding Monte Plus Minus Phil Goldstein Wiped Clean Michael Ammar Modern Jazz Aces Darwin Ortiz A Coin "Glassic" Roger Sherman Ellipses (...)

No.2; February, 1980 (pages 301 to 112): Sol Stone Soft Sleeve John Murray Trip From Center Apocalypse Variations Or Additions David Garrard Shell-Shocked!

Anonymous An Instant Flip-Over Change John Cornelius Flicker Geoff Latta Copper-Silver Transpo William Miesel All-Fair Moving Collectors George Eisler Four-Coin Production Ellipses (...)

No.8; August, 1980 (pages 373 to 384): Ron Ferris The Card Cocoon Dave Lederman No Knot Doty Lickety-Split Color Change Bonnie Hammond Three Opener Harry Lorayne Four Opener Greg Miller The Humble/Arrogant Card Trick Allan Slaight Aces Loaded Out To Lunch Apocalypse Variations Or Additions Ellipses (...)

No.3; March, 1980 (pages 313 to 324): Ken Krenzel Transcendental Transpc Transpo Sponge Balls Meir Yedid Color Transposition, Production Jim Lee Ther Flying Signature A Lorayne Storm Russ Burns Instant Coin Change Joey Gallo Swing Low Philippe Fialho Four-Coins-In-Glass Routine Mark Levy Time Out! Out To Lunch Ellipses (...)

No.9; September, 1980 (pages 385 to 396): Tom Ogden Five & One Michael Farmer Port Authority Transit Norman Houghton Trinity Milton Painted Desert Milton One-Hand Matrix Tom Craven Head To Head Tony Econ Quick Sandwich Karrell Fox Come Forth!

Ellipses (...)

No.10; October, I98O (pages 397 to 408):

No.4; April, 1980 (pages 325 to 336): Michael Ammar Frozen Deckery Michael Ammar Ice-0-Teric Apocalypse Variations Or Additions Nick Pudar Recalled Michael McGivern (Ring) Knot Really Marv Long Sticky Cards William Goldman Pennies From Heaven Andre Robert Tele "Vision" Ellipses (...)

No.5; May, 1980 (pages 337 to 348): Woody Landers Out-Boxed Paul L. Smith Chased Aces Harry Lorayne Double Saltless Gonzalez-Kaufman-Stone Knives-Knives-Knives Gerald Deutsch Added Attraction Tom Mullica Numbers Up Bill Voss Casual Display Apocalypse Variations Or Additions Ellipses (...)

No.6; June, 1980 (pages 349 to 360): Larry Jennings The General Card David Harris French Drop Cop Herb Zarrow Swivel Round-A-Bout Tom Craven Propel-A-Coin Stephen Minch Falling Leaves A Lorayne Storm Jonathan Townsend Thanks To Ramsey Lance Rogers Snap-In Revelation Tom Gagnon Sandwich Spread Editorial

Phil Goldstein Abacus Bob Farmer Rate Of Exchange Paul Cummins Oiled And Watered Robert L. Brooks Ring Through Rope Obie O'Brien Proof Of The Pudding Carl Mellish Three O'clock Nip Greg Wissmueller High Spread Ellipses (...)

No.11; November, 1980 (pages 409 to 420): Harry Lorayne Canfield Connivery Tim Wright The Invisible Coin Francois Ziegler Layla Mike Bornstein Bill-Vedere Allan Hayden One-Cup Routine Salomon Cohn Mysterious Traveler Ellipses (...)

No.12; December, 1980 (pages 421 to 432): Don England Silver Streak Barry Govan J-A-W-S Scotty York The Ring's The Thing Russell Barnhart Do As I Do Prediction Shigeo Takagi Coins And Coasters Anonymous Squeeze-Out Jim Laconte Escape!

John Fedko Exchango Out To Lunch Special index insert - Volume 3, I98O.

Harry Lorayne

1) Immediately place the visible lefthand coin into your closed right hand, via its thumb opening. It doesn't matter ifyyou "clink" now. (See Fig. 8.)

f) Drop these two into the mouth-up tabled coaster ("Y"). Your left hand places "X" mouth to mouth onto "Y." As you do, pick up another coin with your right hand. g) Repeat step c with this (3rd) coin.

Show that it has traveled to the coasters by repeating steps d and e. Repeat step f. h) Do the same with the fourth coin. End Phase 1 by dropping the four coins into "Y," and canting "X" onto it, rim to rim. Gesture to show your hands empty. (See Fig. 4.)

8 m) Pick up the remaining two (tabled) coins just as you did the first two. Display them, then let them (openly) slide down into their respective hands. As you say, "I'll place one into my pocket," place your left hand into your left jacket pocket.

Phase #2: i) Pick up the top coaster ("X") with your palm-down left hand. Place it onto your palm-up right hand. Your left hand moves to lift the tabled coaster and to dump the four coins onto the table. As you do this, your right fingers detach the affixed coin and move it to finger-palm position. (See Fig. 5.)

n) Your right hand drops its four coins, one by one, into the nested, mouth-up, coasters. As it does, your left hand grasps all the coins in your pocket and comes out to rest naturally on the tabletop. o) With your right fingers, pick up two of the coins in the coasters. Place them to your left fingertips. Pick up the remaining two coins with your right fingers. (Remember, your closed left hand holds the bunch of coins.) p) Pretend to take the two right-hand coins exactly as in step k. Really let them slide down into your right hand, also as in step k. Immediately place the two left-hand coins into your right hand, as in step 1.

0) Nest the (now) empty coaster "X" into "Y;" both are mouth up. Pick up a coin with thumb and fingers of each hand. (See Fig. 6.)

q) In appearance, of course, you have two coins in each hand. Open your thumbs, touch their tips to each other, or do any magical gesture. Then drop the four coins, one by one, from your right hand into the coasters.

6

r) Show your right hand empty, as your closed left hand rests on the table. Point to your left hand, and say, "Oh, you think I have an extra coin here? Well, I do!" Let all the coins stream from your left hand into the coasters, to join the other four coins. End.

k) Pretend to take the right-hand coin with your curled left second, third, and fourth fingers. Actually, simply let the right-hand coin slide down into your right hand. (Fig. 7-) Avoid clinking here.

-427-

Afterthoughts: This is a fine routine.

Go over it a few times and see if you agree.

I haven't included patter - it's mostly explanatory, saying how many coins are (supposedly) where. If you don't want to bother carrying so many half dollars, a handful of mixed change is just as good. You might want to try using a giant coin instead of many regular coins. Shigeo does it exactly as I've described.

(y\nonymoiis

Squeeze-Out

I knov; who devised this, but he prefers to remain anonymous. It seems someone else is claiming it and my contributor would just as soon avoid any controversy. (I, of course, don't mind controversy at all!)

That's all there is to it. You can end the piece by either tilting your hand upward to display the "moved out" card (Fig. k), or continuing the "squeezing" until the card falls out and onto the table. You can snap the card out by doing a snapping-out action with hand and cards. With a bit of practice, you can make it fall face up every time. Another way is to simply take that card with your left hand and turn it face up to display, or let your spectator take it out and look at it.

Anyway, it's an interesting piece of handling. It's a way of making the center card of a three-card packet move diagonally, and eerily, out from between the other two cards.

I'm not describing an effect here, just that handling. (I'll suggest two simple effects utilizing it, later.)

Hold three squared face-down cards in your hands. Outjog the center card about half an inch or, for learning purposes, a bit more.

(After you learn it, a quarter inch, or less, of an out jog will still work.) The packet is held by your right hand, from above, at its inner-end corners, at the sides, by your thumbtip and second fingertip. The key to making this work is - the very tip of your second fingertip is just at the extreme inner right corner of the outjogged card, and your thumbtip is a bit below the outjogged card's inner left

corner. This is so that your second fingertip acts as a fulcrum, as you'll see. (See Fig. 1.)

Now, the actual "motor" power is a bit difficult to describe in print, but really easy to do. It may require just a bit of a "knack."

Gently squeeze your thumbtip and second fingertip toward each other, then relax them - back and forth - quite rapidly. Once you get the "knack," the center outjogged card will start to eerily move diagonally to the right and outward. The extreme tip of your second finger is the fulcrum. (Fig. 2 shows this starting.)

Continue the rapid "squeezing" action, and the center card will continue moving in those directions. (Fig. 3-) The two outer cards will "open" somewhat as the center card moves.

You might also try moving your right forefingertip to your thumbtip, letting it touch the corner of the card there. A bit of pressure there can make the center card move out faster.

Sometimes you can make it come out with one squeeze - in any case, it can cut down the "squeezing" movements. I don't use that too often.

There are, of course, many ways to set a selected card for the "squeeze-out" ending.

The easiest is to control the selected card to second from top. Secure a left little finger break beneath the top three cards. Your left thumb pushes off the top, single, card and your right hand takes it from above, thumb at inner end, fingers at outer end. Move your right hand to the right and take the next two cards (up to the break), as one, under the top card, stepped to the left. (Fig. 5.) Push off the next card and take that under the right-hand two(?) cards, also stepped to the left.

Turn over your right hand (palm up) to display the three (?) cards. Say, "I think one of these three is your card." The spectator denies this. Place the small spread face down onto the deck, squaring it. Immediately push off the top three cards, place the deck aside, and go into Squeeze-Out. End with one of the above suggestions.

-428-

Afterthoughts: The "squeeze-out" is an eerie-looking thing, and handy to know. I've also discovered that it works just as well when you're holding four cards - two of them as one.

For example, for the quick effect I explained just before the Afterthoughts - after you display the four cards as three in a small fan, don't replace onto the deck. Just square the packet, outjog the second-from-top card - it looks like it's the center card of three - and do Squeeze-Out. It appears as if the indifferent card has changed to the selected card.

And - since the two cards remain aligned, you can display all "before replacing onto the deck.

The indifferent "center" card doesn't show.

Another way would be to control the selection to second from bottom. Turn the deck face up and remove the four face cards in a group.

Jim Laconte

Get a break beneath the two top (face) cards to enable you to spread out, and display, three cards. The selection is hidden. Ask if the center card is his. It isn't. Square and turn face down. Get a break beneath the two top cards. It's easy enough to get into "squeezeout" position, handling the top two cards as one. Do Squeeze-Out. And, since you can control the direction in which the center card will move - simply alter your thumbtip and second fingertip accordingly - you can do a "dowser" or "magnetic" effect. You can move your hand to between two spectators and ask which one they think has more magnetism, etc. Do Squeeze-Out, causing the center card to move out toward the indicated spectator!

Escape!

The basic method is not new; it's fairly standard. Jim's presentation, the between-thespectator1s-hands idea, however, makes it worthwhile. It's really stunning to laymen.

Your right hand through (out of) the stretches it (to the opening. (Fig. 3.)

pulls that end upward ring and immediately right) across the ring Without a pause, wrap the

You need a plastic or wooden ring (curtain or drapery ring) about three inches across.

The size isn't too crucial. The one Jim gave me is flattened around its outer circumference.

This, too, isn't crucial, but it keeps the rope from slipping too easily. You also need a length of rope - about three feet long.

Thread the rope through the ring; the ends are hanging and even. Hold the ring in your left hand. With your right hand, take the length nearer you and wrap it once around the lower edge of the ring. That is, move it away from you under that edge, then up and through the ring - toward you. The end result is shown in Fig. 1. Pause, to show that the rope is really" wrapped around the lower edge of the ring.

length once around the outer (right) ring edge - wrapping to the LEFT of the straightacross piece. In other words, the loose length goes down into the ring, above or north of, the straight-across, then it's pulled taut. (See Fig. k to see the end result.) If you're a bit confused here, study Figure 4, and experiment until you get to that exact position. Note that the straight-across length is closer to you; the loops are farther from you - to the north of the straight-across length.

Your left thumb and first and second fingers move to hold the loop nearest them (left part of loop on ring) as your right hand reaches slightly into the ring (from outside toward you) and pulls the right length upward all the way through. (See Fig. 2 to see this in progress.) This is the key move, of course, and must be done casually, and with no hesitation.

Be sure to hold the left loop with your left fingers as explained, or it will get messy.

Maintain pressure on the rope so that it doesn't slide off the ring. That is, pull on the portions that are outside the ring - to left and right. To the spectator, it appears as if the ring is firmly threaded on the rope.

â&#x20AC;˘429<

Poke a finger between his second and third fingers (upper hand) so that you can reach in and grasp the edge of the ring nearer you.

Pull it toward you, working it slightly back and forth if necessary. (See Fig. 7.) It will come free!

It isn't, of course. However, it must be pulled in the correct direction in order to escape.

If the ring is pulled toward the straight-across piece it will NOT come off. It must be pulled toward the two loops.

At this point, Jim turned the entire thing over in his hands to get to proper position (loops toward performer). This was a bit awkward for me. Easily solved. Ask your spectator, who is directly opposite you, to put out one hand, palm up. You're holding ring and rope with your thumbs upward, as in Figure k, except that your hands are closer to the ring.

As he puts out his hand, simply move your forefingers up onto the ring and move your thumbs to below the ring. Now, it's an easy matter to turn both hands outward, turning ring and rope in the process (Fig. 5) - placing all directly onto the spectator's hand. The loops around the left and right edges are now toward you. The ends of the rope drape over the sides of the spectator's hand. (See Fig. 6.)

6 Afterthoughts: This is stunning to laymen.

I know, I've tried it. If there are more spectators around, and if the rope is long enough, I like to hand an end to each of two people, to left and right - after the knot is tied on top. They're to hold their ends firmly.

Doesn't matter, of course, but it adds to the impossibility(?), and involves two more people.

If you have trouble removing the ring from between his hands, tell him to relax a bit, and work the ring back and forth (left-right) as you pull it toward you.

As mentioned, the idea isn't new. You can even start with the rope simply draped once through the ring, no twist - then take the outside strand and wrap it over the other side of the ring. Play with that; you'll see how you can get into proper position easily. Also, you can wrap twice (or more) on each side of the ring - as long as there's the same number of loops on each side, and as long as those loops are facing the same direction. Again; play with it.

Ask him to place his other hand, palm down, onto the ring. "Now, there's no way I can get to it. But, to really make sure..."

Criss-cross the ends under his hands and bring them up over his hands. Criss-cross on top and tie a knot or two. "Now, there's no way that ring can escape!"

John Fedko

Exchango admirably. You'll also need a red poker chip which is used as a marker. Any small red object will do.

If you like the Elmsley Count, and if you do it well, this will be right "up your alley."

Although it can be done strictly impromptu with four red spot cards and four black spot cards from any deck, it looks much better with eight cards prepared the way John suggests. What you need are eight blank-faced cards - all backs the same. On each of four of the blank faces paint a large (at least the size of a silver dollar) solid red spot; on each of the other four, paint a large black spot. If you don't feel like painting, check with a stationery or office supply store - you'll probably find large circular red and black paper discs that are self-sticking and that serve the purpose

When ready to perform place the four red cards, face up and fanned, onto the table away from you; that is, closer to your spectators.

Place the four black cards, also face up and fanned, closer to yourself (south of the red cards). Place the red poker chip to the right of the fan of red cards. (See Fig. 1 for performer' s view.)

Patter to the effect that, to avoid confusion, the red poker chip will always indicate the position of the red cards. â&#x20AC;˘430"

tabled packets into fan condition and exchange the two top cards of each.

From here on, when I refer to "red card" or "black card," I 'm referring to the disccolor on its face, Turn the red-card fan face down at position, keeping the cards in fanned condition. Do the same with the black cards.

Take the top face- down black card and place it (still face down) to the center of the red-card fan. That is, it s placed to third from top of that fan. I us ually leave it out jogged for the moment.

Do exactly as you did after the one-card exchange. That is; pick up, square, turn face up, the black-card packet. Elmsley Count it four blacks will show! Using my patter line, do the same with the red-card packet. Each is turned face down after the count and replaced to table position.

Say that you'll make it even more difficult by exchanging three cards of each color.

Spread-fan the tabled packets again, and exchange the three bottom cards of each. Square the tabled packets.

John ends by sliding the red chip down to the "black" packet as he talks about the time a young magician deliberately diverted his attention and secretly moved the red chip. That's fine. I follow along with my patter theme, and slide the chip down as I say that the red cards always follow the red chip. Whichever patter you use, pick up the packet nearest you, turn it face up, and deal it to the table a card at a time. They're all red! Turn up the other packet and spread the cards to show four blacks, and to end.

Afterthoughts: All you have to do is do the Elmsley Count smoothly, and follow the "exchange" instructions - the rest is automatic.

It's a quick, and effective, routine. Incidentally, I've heard that Roy Walton has a similar routine.

Now, take the top card of the red-card fan and place it to second from top of the (now) three-card black-card fan. I leave this outjogged also. You now have two four-card fans with the second-from-top card outjogged in each. (See Fig. 2.)

I've changed it just a little bit (don't I usually!) to make it, I believe, just a mite more magical. The exchange of one card at the beginning is as described. But for the exchange of two cards, exchange the two BOTTOM cards of each. Then move the chip down. Show all reds in the lower packet - "They always follow the chip." And, of course, four blacks in the upper packet.

Slowly push each of the outjogged cards flush as you stress the fact that there's been an exchange of one card from each color. Pick up the fan nearest you (black), square the cards, turn the packet face up and do the Elmsley Count to show four black cards. The last card goes on top (onto the face) each time you do the count, in this routine.

Then, exchange three cards as described (bottom three of each), and move the chip back up to original position. End, by showing (no sleights necessary here, of course) all the reds in the upper packet (again, "they follow the chip") - and all the blacks in the lower packetâ&#x20AC;˘

Place the black cards face down to position on the table. At this point, the patter line I use each time is - "You see, as long as the red poker chip is here, next to these cards, the red cards will stay there, right near the chip." I say this as I pick up the red cards, square, and turn them face up. Do the Elmsley Count, showing four red cards.

This patter idea is mine, so don't blame John for it. Use whatever you like. Place these four cards, face down, to table position.

One more suggestion: It might be interesting to do a color change (red to black and, perhaps, back to red) of the poker chip during the routine. Any good change will do.

It (they) would have to be worked in at the proper time, of course. The patter could be something like, "Not only do the cards follow the chip - sometimes the chip follows the cards!"

"I'll make it more difficult; I'll exchange two cards of each color." Spread the

NEXT MONTH - anniversary issue: David Roth - "And They Both Go Across" Blair Bowling - SOC III Warren Stephens - Bangle Dangle

J. K. Hartman - One Of A Mind Peter Marshall - Bicycle!

Karrell Fox - Card Production Paul Gertner - Case In Point

plus, â&#x20AC;˘431-

Out 7b Lunch

continued from page 383

A vignette from years ago: An interesting thing about the Ed Sullivan Show - that I didn't know until I appeared on it - is that they did a full, live, run-through of the show, in front of a full audience, at 3PM on that Sunday. That is, on the afternoon of the same day that it aired live. The people in the audience never knew, until they were there, that they really had tickets for the rehearsal only. That audience was shooed out after the rehearsal.

Now, this is fine for most performers.

The rehearsal ran much longer than an hour because Mr. Sullivan would stop performers in the middle to discuss certain things. He'd check every line a comedian used - and, quite often, stop and ask (tell) him not to use that line on the regular show. Camera angles were worked on, and so forth.

But, bering of people in problem.

for me - since I was to do the rememthe names and faces of most of the the audience - this created quite a Here's why:

The audience would line up outside the studio, waiting to be let in. At 2PM that Sunday I arrived, and eventually started to meet some of the people on line. I met the rest of the audience as they were seated in the studio. I met about three hundred people.

The rehearsal started. If I remember correctly, I was the next-to-last performer on the show. The rehearsal ran to almost 6PM - the "real live" show went on at 8PM, as you know.

Well, I did my thing and I must say, it went over just great. I received a standing ovation. By the time the last performer was through with his thing, and the audience ushered out - it was past 6:30PM! At this point, the other performers did a variety of things - they'd grab a nap, have a bite to eat, a drink, generally relax. But, as I started to leave the studio to have a drink or something - I was tired - I saw the audience for the regular show already lined up outside! I hadn't realized how late it was.

I had to, immediately, start memorizing the names and faces of another three hundred people!

By the time I was done with that, I had just enough time to be rushed into make up before the show started. I couldn't even lie down or relax during the show - up to my spot because Ed wanted to introduce me from the audience, then I'd run up on stage. I had to be in my special seat before 7:50PM. Well, by the time I was introduced I'd been there for almost seven hours and had remembered six hundred people - I hadn't had the time to eat, drink, sleep, or visit the bathroom! I was tired. I did my bit, and I guess it was fine - I was too tired to care or remember it! Mr. Sullivan was quite complimentary and invited me back right there on the air. But - no standing ovation this time! I would have preferred to have the rehearsal after the regular show!

To be continued...

I received a letter from a subscriber today. I've received many like it, but the timing happened to be right just now. He said many nice things, but the remark that instigated this paragraph or two is - "I realize that I'm receiving a $10.00 to $15-00 pamphlet every month when I receive Apocalypse. In this era of getting less, not more, for your money, I not only look forward to receiving it each month (on time, yet!), but am flabbergasted by the variety, depth, uniquness (sic), etc., of the material in each issue." He goes on to rave about my writing and selection of the material, but modesty forbids my quoting him! But, I think this particular issue is a good example of what he's talking about. In my opinion, every item in it is worth more than the $3.00 single issue price.

I don't get to see everything that comes out in magic, but I do see much of it. I've seen the pamphlets that came out some months ago, selling from $4.50 to $8.50, or so, each.

Cheaply printed - the kind of things you'll put away and never use, or see, again. And this from a "known" publisher. Well, frankly, if any issue of Apocalypse isn't worth more than that garbage, I'll "pack it in." There are others, of course. Rip offs, so far as I'm concerned.

I just looked over the index for Volume III of Apocalypse, which I just put together, and which is probably included with this issue - look it over, see if you don't agree with my correspondent. Look over the indexes for Volumes I and II; same thing. If they don't give you the incentive to rush out and send in your subscription (or subscription renewal), I don't know what will!

HL

MERRY CHRISTMAS and HAPPY CHANUKAH! 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 (including all back issues.)

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. = 4 3 2 '