Harry Lorayne's $3.50
VOL. 8 NO. 1
JAN., 1985
pocalypse ISSUE NO. 85
Karrell Fox Silknot
It's some years ago now since Karrell did this for me, and fooled me. And - taught it to me. It's probably about the best "simple" false knot with a silk you'll ever learn. I'm almost sorry to teach it here because I've been using it to fool magicians all over the world. It's out of Karrell's book, Another Book (Supreme Magic Co., England). It appears here with permission, of course. (I don't often run an item that has already appeared in a book. When I do, it usually is, in my opinion, an exceptionally good item, and an item that I feel has been missed, overlooked, by the majority of those within the magic fraternity.) An 18-inch silk is perfect for this; it is for me, anyway - you may prefer a 24-incher. I'll teach the basic "knot" (using a rope for the illustrations, because I think it will all be clearer that way, and also because that's easier to draw!), without getting involved with presentation. I'll leave that to you. I can only tell you that I present it with this sort of attitude "If I really wanted to tie a knot in this silk, I'd place this end here - and this end into the loop..." etc. Twirl the silk, holding two diagonal corners, as you'd ordinarily do - what we (magicians) refer to as "rope fashion." Then, hold an end in each hand - the left "strand" on your left palm and the left end held between thumb and (side of) forefinger. The right "strand" is across your right palm, and the end is held between your first and second fingers. Your third and fourth fingers can curl in to hold that strand firmly in place. This is "display" position - exactly as in Fig. 1, your view. (All the illustrations for this are from your point of view; COPYRIGHT 1985 by H. Lorayne, Inc.
•1009'
that's basically see it.)
the way your spectators also
Now, and this is part of what makes this so strong - deliberately and obviously start to bring the right-hand end (which is held in your right hand but is really at the left at this moment) toward you, down, and then away from you and through the loop that's automatically been formed. (Figs. 3, 4, and 5 show this happening - the right first and second fingers have just brought their end of the silk into the loop in Figure 5.)
Using whatever patter (and/or "attitude") you feel fits your personality, your left hand places its silk end into the fork of your right thumb. As soon as it does, slide your left hand "down the silk" a bit. (Fig. 2.) You're slowly starting to form a legitimate "simple" square knot.
Bring that end up. (Fig. 6.) Bear in mind that, in performance, although the entire action is done deliberately, there really is no pause. It's a fluid movement. Okay; as you arrive at the position shown in Figure 6 - note the position of the right forefinger in that figure — move that right forefinger from beneath the left-hand strand (as in Figure 6) to above, or onto, that left-hand strand. This is the key to the move. At the same time, your left hand - your thumb and forefinger, basically - grasp the (now) left corner. (Fig. 7 is the exact position at this instant.)
And, at this instant, you can end by either forming a knot - or not! Your hands move apart, as they would when forming a knot, and the ending is controlled by how the right end of the silk is grasped. If, as your hands move apart, you raise (and release the silk with) your right thumb, but continue holding with your right first and second fingers - the silk will "open out" and no knot will form. (Fig. 8.) If, however, as your hands move apart, you raise (and release the silk with) your right forefinger, but continue holding with your right thumb - the silk opens out, forming a knot. (See Fig. 9.) That's it. Obviously, you'd do it a few times not forming a knot. Then, you can continue; do.it a few more times, giving your spectator the choice - "Would you like a knot or 'not a knot'?" Say this as you pause at the position shown in Figure 7. That's part of the strength of this method - you can form a knot, or not, from exactly the same position. Release with
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your right thumb to form "not a knot" (Figure 8 ) ; release with your right forefinger to form a legitimate knot (Figure 9 ) . I love it!
9
Afterthoughts: It's up to you, now. Reread the text with silk in hand. (This looks good with a rope also, but much better with a silk.) When you get it working smoothly, I believe that your presentation (and "attitude") will automatically fall into place. To "round off" the attitude I use - and that I mentioned:
Edward Mario
"If I really wanted to tie a knot in this silk, I'd place this end here - and this end into the loop...and, of course (start to pull your hands apart), I'd have a..." Act surprised - there's no knot. "Wait a minute; if I really wanted to tie a knot in this silk, I'd place..." and repeat exactly, acting surprised (each time) when no knot forms. Whatever your presentation and/or attitude, if you pass this by someone who hasn't passed it by will fool you with it - that's definite. Take my word for it!
"Trite" But All Right
hen Ed saw my "Gem" False Count (Apocalypse; June, 1983) it reminded him of a false count (or two) of his own. To illustrate, he sent me what he called "the following trite effect". Well, "trite" or not, I practiced it, then tested it on some laymen, using it almost as a quick throw-away. It got gasps. I asked Ed if I could run it here - he said "sure". The effect: You show four red face cards and their backs. These immediately change to four black face cards - which are tossed onto the table for examination. You have to be in this position: You're holding a face-up and squared 8-card packet which consists of four red cards and four black cards. The reds are at face (top). You have a left little fingertip break beneath the four red cards. To perform: In appearance, you count the four red cards from right to left hand. Like this: Your right hand grasps the red-card block at its inner right corner. Your right first and second fingertips enter the break (your hand is palm up) as your thumbtip rests on the face of the block. (Fig. 1.) Apparently, your left thumb peels the face red card onto your left palm - it does, but your left fingers secretly take along the black-card block. That block must remain aligned beneath the peeled-off face, single, red card. And, your left little fingertip must maintain the break between the single red card and the black-card block. (See Fig. 2, which is an exposed view of this count of "one" in progress.) There
is
no
pause or break in rhythm of
course. Your left thumb peels off the remaining three red cards, one at a time, counting to four. You've counted and shown four red faces. Your right hand grasps the packet from above; the break is maintained. Turn the packet face down doing Ed's Pivot Spread. I.e., your right hand turns over the entire packet - to the right, sideways. If the break is maintained, this will automatically angle the red packet's inner end to the right, as in Fig. 3. Move the packet back to left-hand dealing position
"1011"
as your left little fingertip angled red-card block in order above it. Square.
pulls down the to get a break
This next, face-down, count is new in its approach. What it must look like is that you're now showing the backs of the four red cards. For the count of "one" your left thumb apparently peels off the top face-down card. Actually, it peels (or takes) the top 4-card (above the break) block. This is facilitated by your right hand slightly angling the outer end of the top 4-card block to the left so that your left forefingertip can "nip" the block's outer right corner. Your right fingers move to grasp the lower 4-card block the same way they grasped the upper block for the first count. (Fig. 4 shows the position at this instant.)
Again, no pause of course. Your left thumb peels off the top 4-card block as one - count "one." As you peel off the next card - counting "two" - get a left little fingertip break beneath it. For "three," your right thumbtip does a 2-card block push-off so that your left thumb can peel the double card as one card. The last, single, card is taken onto the left-hand cards; "four." At this point, you have a break between the reds and blacks; the packet is face down, and the blacks are on bottom. Turn the packet face up doing the Pivot Spread, as explained. Be careful not to flash the inner right corner of the red-card block as the packet turns face up. It's best to slightly tilt the face of the packet toward yourself. That's necessary only until you get your left little fingertip break between the two 4-card blocks, as explained and square. A black card shows on top (face). Now do exactly the same count to show four blacks as you did at the beginning to show the four reds!
(The left thumb peel-off of the face black card as the lower 4-card block [red cards] is secretly taken beneath it.) Be sure to maintain that left little fingertip break between the two 4-card blocks, also as explained. Okay; you count and show four blacks. The effect is over. You have a break above the lower red-card block so it's a simple matter to bottom palm that red-card block into your left hand. Use either a full palm or any one of the "gambler's" rear palms or cops. I prefer the gambler's cop. Your right hand simply moves the packet inward, your left hand contracts to hold the lower block, your right hand moves the upper block outward. (Fig. 5.) Your right hand tosses the four black cards onto the table. It's an instant maneuver.
As your spectators grab for the four black cards, the left-hand palmed reds can be secretly added (loaded) onto the deck. Ed details such methods in the Action Palms chapter of his Revolutionary Card Technique series. Afterthoughts: The entire effect should be done at a pretty brisk pace; don't leave too many "gaps" of time for the spectators to see extra thicknesses, etc. I like to go into the second count, showing the four backs, immediately after turning the packet face down (you have just counted and shown the four red faces) doing the Pivot Spread. You'll find that as you square the packet onto your left palm, your right hand can immediately (part, of the squaring action) angle the top block to the left so that your left forefingertip can nip its outer right corner (as in Figure 4 ) . There's hardly any need for the left little fingertip break at that moment; go right into the count/display. Anyway, work on this - you'll find it to be a magical, direct, piece of business.
^special all-card issue): David Regal ' Perfect Penetration Willie Schneider Flash Surprise Richard Vollmer The Lady Vanishes Gianni Mattiolo Psy-Cross Force Walter Cummings Double-Cut Substitute J. Gordon O'Genski Double "Pancake" Revelation and
more... !»»•»»•
PUBLISHED, WRITTEN, EDITED:
Harry
ILLUSTRATIONS:
Robert E. Lorayne
Sol Stone
Flip-Side Split
the May, 1983 issue of Apocalypse 1 ran Sol's Flip-Side Up. ThaC's a pretty routine using an excellent coin change of Sol's. It also seems as if I goofed in my description; I omitted one change in the middle of the routine. I'm sure, however, that if you use the change and/or the routine at all, you have already altered it to fit your way of working. Sol does a pseudo expose piece, using the exact mechanics of the Flip-Side Up change. It is very magical looking in his hands, and it takes only a couple of seconds to perform. It will fit perfectly into any copper/silver routine, particularly one that uses a c/s (copper on one side, silver on the other) gaffed coin. Some may think it's exposing; I don't. It's a "tongue-in-cheek" display of the two sides of the gaffed coin. The decision as to whether or not it can be considered exposing is yours.
"Copper on this side, silver on this side," as you do the change.) From the position in Figure 3 (again, no pause), close your right thumbtip onto the two visible coins, grasping the right edge of the stack between right thumbtip and first and second fingertips. It is held the same way at its left edge with your left fingertips. As you say something like, "But when the trick is over I can break the two coins apart!" - apparently do just that. Move one coin to the left, the other coin to the right (or move one back and the other forward) in a snapping or breaking action. Try to snap them against each other to get the "breaking" sound. "Perhaps you'd like to look at them." Hand them to a spectator, or place them onto the table - at the same time, one with each hand.
I'll describe the mechanics of the, change itself in an abbreviated way; I'd suggest you check the above-mentioned issue for a detailed description. The situation is this: The c/s coin is being displayed at your left fingertips. There are two coins in right-hand thumb palm, a regular English penny and a regular half dollar. If you're going to do the "move" when the copper surface of the c/s (left-hand) coin is up and visible, then the regular copper coin should be closer to (facing) you as it is being held in right-hand thumb palm with the regular silver coin. I'll describe it as if that's the case. Display the c/s coin at your left fingertips, the hand is palm up; your left thumb is on the copper surface. Either turn the coin with your fingers to flash the other (silver) surface, then back again - or, turn your hand palm down to flash it, then turn the hand palm up again. Your patter should be explanatory only - "In order to do that 'trick' I used a coin that's copper on one side and silver on the other." Your attitude should be such that although both surfaces of the coin are seen, your spectators will think you were kidding them when you're finished. ; Your palm-down right hand approaches to take (or turn) the left-hand coin. (Fig. 1 is the positioning just before going into the almost instant change.) Your right hand moves onto (over) the c/s coin. As it does - there's no pause in performance - place the c/s coin into right-hand finger palm. Your right hand is turning outward and is almost palm toward you. Your left fingertips are right there to grasp the two thumb-palmed coins. (Fig. 2.) In action, your left hand remains basically stationary your right hand does the moving. It continues moving, turning palm toward you and slightly downward (and/or your left hand moves slightly up and left) so that the two stacked coins, now at your left fingertips, come into view. (Fig. 3.) The silver coin will be toward your spectators - which, to get technical, is correct because you apparently turned over the c/s coin during the execution of this change. (As a matter of fact, you can repeat,
Afterthoughts: The c/s coin is in righthand finger palm. You can pocket it or lap it at your convenience, or use it for a follow-up effect. It's an effective quickie - easy to do and very magical looking. You have to work out the way to get to necessary position of course; either at the beginning, end, or during one of your coin routines.
"1013"
J. K Hartman
Boggle Switch
"theme" packet effect with a startling climax. Get the required cards and stickers and try this. You'll love it. Jerry explains it quite clearly:
pushes it up to square with the lowermost card, your second finger pushes outward the second card. (The alignment move.)
The starting points in the development of the following instantaneous change of three cards were a) a modest revision of Ed Mario's Quick 3-Way (Ibidem #15, page 2) allowing it to be performed without revealing the back of the card displayed throughout and b) a "twisting the aces" gem by Phil Goldstein called "Exitwist" (Majorminor, page 2 ) , that routine supplying a patter sequence which offers a perfect rationale for the repeated display of faces and backs and at the same time neatly sets up the climax.
As you continue, "...matches this card..," grasp the top and bottom cards as one at the inner end - thumb below, first and second fingers above - draw them free (Fig. 1 ) , and revolve them end-for-end face up, apparently displaying the top card. Turn the double card face down on top. As you continue to match words to action - "...but so does this card..." - perform the following revised handling to show the center card.
Required are two blank-faced cards and one blank-backed joker. Also required are three matching stickers representing a holiday or season or any desired theme. These should be of a size which allows them to be affixed to the center of each of the blank faces and blank back, at the same time leaving at least a halfinch margin of surrounding white space. Some examples are Santa Claus faces, pumpkins (Halloween), bunnies (Easter), etc., ideally each with a slight pictorial difference. With the stickers in place, arrange the packet with the blank-faced cards face down on top of the joker which is sticker side up. Slip the packet into an envelope, its face against the flap side, and insert all into a pocket.
Block push-off the uppermost two cards slightly with your left thumb. Without hesitation, grasp them at the outer right corner; right thumb above, first and second fingers below. Twist your right hand inward, palm down, at the same time pushing off on the face card with your right fingers (or pulling back on the rear card with your thumb) to expose a thin strip of the rear card. Both should be held directly above the remaining face-down card, and since it is clear that you hold two in your right hand, the face in view is plainly that of the center card. (See Fig. 2.)
When ready to present the trick, remove the envelope as you comment that your spectators have all heard of the famous Three Card Monte. "That's the game," you go on, removing the packet face down from the envelope, "where the idea is to pick out the one card out of three which doesn't match." As this last comment is made, give the packet a casual Hamman Count, as follows: Hold it from above with your right hand. Approach with your left hand, peeling off the uppermost card with your left thumb. Bring your hands together again, ostensibly to allow your left thumb to peel the second card. Actually, slide the packet deeper into the fork of your left thumb. Gripping it there, move your right hand to the right stealing back the first card which is then deposited on top of all as the third count. (HL: I prefer what I believe is called the Eye Count. The packet is held normally - in dealing position, or in Elmsley-Count position. Take the top card. As you "go" for the 2nd card the first one coalesces to the packet's bottom and your thumbtip pushes off 2 as 1. The remaining single card is taken onto the 2 cards. ) "Well," you go on, "I regret to say you're not going to see it." You now perform the Quick 3-Way handling described below, as you say, "This card matches this card, but so does this card...and you can't perform Three Card Monte with three matching jokers!" right say, Draw your
Holding the packet from above with your hand, flash the joker at its face, as you "This card..." Turn the packet face down. the top card an inch or so inward with right second finger. As your thumb then
Concluding "...and you can't perform Three Card Monte with three matching jokers," turn your right hand to its original position, squaring the two cards (or you will expose a blank) and replacing them onto the third to reassemble the packet. "As a matter of fact," you continue (and here is the Goldstein patter sequence), "there aren't too many tricks you can do with three jokers. For example, if I had you select one of them, and I told you it was this one. . ." At this point, turn over two cards as one. Proceeding, "...that wouldn't be much of a trick because they're all jokers," turn the double card face down and transfer it to the bottom. The smoothest way to do this in a single action is to contact the face-up double card at its inner and outer right corners with your right thumb and second finger respectively. Pivot it upward and to the right, its inner left corner remaining in contact with the heel of your left thumb as the pivot point. At the same time, your right thumb slides forward along the right edge of the double card, converging at the outer right corner with your second finger and your forefingertip which con-
•1014-
tacts its face. (Fig. 3 shows this turn in progress.) Thus pincer-gripped, the double card is revolved face down and tucked to beneath the "packet."
The action of the left hand is the Carlyle Paddle Move (The Phoenix #48, page 196); a fake turnover made doubly deceptive here by the two hands moving close together and in concert. The three sticker symbols appear out of nowhere as you conclude, "...this one!"
"Nor would you think there was much magic involved if I showed you the trick where a card is transferred to the bottom then magically comes back to the top," you go on. At the same time, openly transfer the top card to the bottom, obtaining a break above it. Snap the top of the packet, and turn over two cards as one. (HL: I don't bother with the break. It's easier to buckle the bottom card in order to do the double lift. A block push-off would also do.) As you then conclude, "...because a joker is in both places," turn the double card face down as before and transfer it to the bottom. At this stage, you have apparently displayed faces and backs of all three cards repeatedly, and the climax comes as a real shock. Say, "But because this is a very special time of year, there is one trick I can do with three jokers ... this one!" As the remark is made, buckle the lowermost card slightly, permitting your right forefinger and thumb to grip the inner right corner of the uppermost two cards. Both hands now perform simultaneous actions, the effect of which is that all three cards are turned over, face up, onto the table.
Afterthoughts (HL): Jerry tells me that the final sequence is an application of a Goldstein-Mario clean-up, Phil Goldstein adapting the Paddle Move (The Linking Ring, Hocus Pocus Parade, page 65) to a two-handed reversal concept of Edward Mario (e.g., Tabled Think Ace, Kabbala III, pages 29-30.) Thanks are owed to Jon Racherbaumer and Phil Goldstein for genealogical background.
Your right hand turns palm down and separates its two cards face up onto the table, spreading them diagonally toward you. In the meantime, just as your right hand lifts off its cards, your left thumb digs underneath the bottom card and turns palm down with a slightly exaggerated swing, gripping the card along its now left side - fingers above, thumb below and depositing it at the near end of the row to complete the row. (See Fig. 4.)
Work it out so that the sticker symbols face your spectators properly at the end. This, of course, is an individual thing based on how the symbols are facing at the start and the precise manner in which you perform your double lifts and turnovers. Obviously, you can use any stickers or drawings on the blank surfaces. Use your imagination and make up a "non-holiday" set. This is too good to use only on special occasions!
Remember - if you photocopy this magazine, you lessen its worth to YOU!
Stephen Tucker
Oil and Kings
couldn't imagine how to go about tabulating how many variations and take-offs there have been of Roy Walton's Oil And Queens (The Devil's Playthings). This is another such. You will need eleven cards (which may seem like a step backward, since the original required only nine cards). Gather the following: The bluebacked four kingsv and the blue-backed AS, AD, and AC; the red-backed 3D, 4C, 2C, AH. Set the eleven cards, from top down: The four bluebacked kings; the three blue-backed aces with the AD between the two blacks; red-backed 3D, 4C, AH, 2C. The 2C is the bottom card.
What you want to show is that you're holding eight cards set in alternating (red/black) order. This is accomplished via a Hamman Count; the "move" or "switch" is done on the (silent or otherwise) count of "five." The last two cards (AH showing) are placed onto the "counted" cards (and counted) as one. (I've taught the Hamman Count; in Apocalypse on a number of occasions; see Really Wild Jokers in the August, 1983 issue.) You can either count, or say "black, red, black, red" etc., as you do the count/display. Flip the packet face down and deal the top four cards - the kings - face down onto the table (singly, or all at once in a spread). As you do, say that "these four cards will remain in alternating-color order, of course." Jordan Count the remaining in-hand (7) cards as four as you say, "And so will these." You'll be display/counting (showing) four blue backs.
To Perform: Mention that you're holding some blue-backed cards as you do a quick spread to flash some blue backs. You have a six-card spreading leeway. (Steve mentioned that, sometimes, the spectators aren't aware of the color change near the end of the routine [as you'll see] - that's why I've included this obvious idea of a quick mention and spread.) Square, and flip the packet face up.
The •1015-
Jordan
Count
has also been taught in
for you, you can injog the 4-card block as it goes to the rear; get your break as you flush the block.
Apocalypse a number of times. Once more, briefly: Your left thumb peels the top card, then it peels the next (top) card onto the first. It appears to peel the third card onto the first two, but actually - the first two coalesce to the bottom of the right-hand packet and your right thumbtip does a block push-off of all but the bottom card. Your left thumb takes this block as one card and as #3. Your left thumb takes the single right-hand card as #4.
"Now some magic with these." Snap your fingers over the tabled, face-down, packet. Then, pick up the tabled cards, one at a time, placing each one face up onto the in-hand ace packet. You're displaying the four kings! (You can flush each king as you place it onto the ace packet. I prefer to keep them in spread/display position.) As soon as the appearance of the kings has registered, lift all the cards above your break (square first if you've held the kings in a fan or spread/display) and table the face-up packet. This supposedly consists of only the kings, but is really four kings on top of three aces. (The face ace of the in-hand packet changes from the AD to the AH during the "king" display and retabling. Since they're both red and since there is some "time" misdirection, that's never noticed . ) "Of course, in order to change these cards to such great poker hands (or black jack hands; four perfect black jacks), I have to cheat a bit. I do cheat - I use marked cards!" Flip the in-hand packet face down and spread the four cards (supposedly the aces) to show the four red backs! Square, turn face up, drop onto the tabled kings(?) and pocket the packet - in the words of the contributor (Steve), "As fast as you can!" Afterthoughts: Aces are seen during the opening display. Don't mention them and they won't be noticed because they're mixed in with other spot cards. (I make sure that the AS does not show. ) Roy Walton credits Milt Kort with the court-card revelation idea. The final, and magical, change to red backs can be emphasized by turning over the top face-up, tabled, king and keeping its blue back visible. And, that change doesn't have to be to four red backs, obviously. It can be to four different, crazylooking, back designs.
Say that you'll do some magic with the few (four) cards you're holding. Flip that packet face up and immediately do an Ascanio Spread. (Fig. 1.) I have to assume that Apocalytes know the Ascanio Spread; you can check the August and September, 1982 issues for variations of same. You've shown an instant change to four aces. There's no pause; continue the Ascanio Spread - your right hand moving the four-card block, AH showing, to the bottom (rear) of the packet. (Fig. 2.) As this block moves to the bottom and you square the aces, get a left little fingertip break above the block; above the AH, that is (four cards). If it makes it easier
Tony Miller
Fill in your own patter, and whichever way you set it up and/or present it, lots of magic happens.
"Cheap Way" Cop/Sil/Brass could even use a washer.) The regular English penny is in your right jacket or trouser pocket.
|ony calls this "Cheap Way" because, unlike other cop/si I/brass routines, it does not use shells or any other gimmicks but a coppersilver coin. It's a very clean and direct routine. Bear that in mind since my explanation, of necessity, has to break that "directness."
Performance: The regular half dollar, the c/s coin (copper side u p ) , and the smaller Chinese coin are displayed on your right palm. But, Tony usually tosses the three coins onto the table first. You'd have to toss the c/s coin "low" and carefully; you don't want it to turn and show its silver surface. You can casually turn over the two regular coins; leave the c/s coin alone, or do a pretend turnover with it. (A number of methods have been taught in Apocalypse.) I think your best bet is to leave it alone.
Here's what you'll need: One regular half dollar, one regular English penny, one quartersize Chinese coin, and one copper-silver gaff English penny on one side, half dollar on the other. Tony's c/s coin, incidentally, shows the tail side of the half dollar. He feels that's better for a number of reasons, one of which is that you don't have a date showing that has to match the date of the other half dollar. The quarter-size coin - the "brass" - doesn't have to be Chinese; it can be any foreign coin. (You
right
•1016-
Then, place palm, near
the the
three bases
coins onto your of your fingers.
as your left hand is closing, any clinking is covered because the assumption would be that it is coming from the right hand.)
Place the half dollar first, toward the right; then the copper-side-up c/s coin, overlapping it to the left, and finally the Chinese coin, overlapping the c/s to its left. (Fig. 1.) This is done openly; you can start this way, or onto the table as explained, and then onto your right palm. (This entire routine can be done away from any working surface; in that case, obviously, you'd start with the coins already on your open right hand.)
"If the half dollar is here (indicate your closed left hand), what do I have here?" (Indicate your closed right hand.) The answer should be, "The two foreign coins," or something similar. Say, "Right. Now watch!" Wiggle both your thumbs, or whatever, then open your right hand to show the half dollar! Pause for a beat, then open your left hand to show the two foreign
Point out the coins, call them by name; mention "one American and two foreign coins." Then, close your right hand, turning over the three coins. Reach into the little-finger side of your fingers-up right fist with your left thumb and forefinger - and take the c/s coin and the Chinese coin. This is easy to do; Tony makes sure there's no fidgeting by moving his right first and second fingers slightly outward moving the half dollar along. This separates the half dollar from the other two coins. (See Fig. 2, which is an exposed view - the left fingers are just entering the right fist.)
Place the two left-hand coins (careful not to flash the hidden silver surface of the c/s gaff) onto the half dollar in your right hand. You're back to opening position (Figure 1 ) . So, repeat the half dollar/two foreign coins transposition exactly as just explained (Figures 2, 3 and 4 ) . The patter might be, "Let me give you another chance... remember, the half dollar is here (in my left hand)," etc.
After the repeat, toss the half dollar from your right hand onto the two left-hand, foreign, coins. Then, openly take the Chinese coin with your right thumbtip and forefingertip and place it into your right pocket (to join the regular English penny that's been there all along). As you do this - "Perhaps three coins are difficult for you to keep track of; I'll put one coin away - now there are only two for you to watch, a copper and a silver." When you take the Chinese coin with your right hand, make sure that the remaining two (left-hand) coins are nearer your left fingertips. When you conclude your last remark, close your left fingers - turning over the two coins. Reach into your closed left hand with your right thumbtip and forefingertip (just the opposite of the first two times) and remove the c/s coin, which is now silver-side up! After going over the routine a few times, you'll know just where the gaffed coin is in your left fist; when I do it it's always the bottom coin.
Bring the c/s onto your palm-up right fingers. Again, be sure not to flash its underside - the copper side. This is easy to do, as you'll see, with the help of your right second finger. If you like, you can place it onto the table for a moment, then pick it up again - and onto your right fingers. Close your right fingers, turning over the coin. Stress the fact that the silver coin is in your right hand, therefore the copper coin must(?) still be in your left hand. There's no reason for your spectators to think otherwise. Wiggle your thumbs, then open your right hand to show the English penny! Open your left hand to show the half dollar.
All right; make sure that the Chinese coin is directly behind the c/s coin as the two coins come into view. Because it's smaller, it is completely hidden by the larger coin. And, the c/s is automatically silver surface toward audience! (Fig. 3.) As you talk about placing the half dollar into your left hand, take the half dollar (really two coins) with your right thumbtip and forefingertip - always keeping the silver surface toward your spectators - then place it (them) onto your palm-up left hand, nearer your fingertips. (Fig. 4. Note that the other three fingers of the right hand are still closed around their coin.) Remember; the idea is that your spectators see you take the half dollar out of your right hand and deliberately place it onto your left hand. Slowly close your left fingers, automatically turning over the two coins. Tony tells me that he manages to close his left fingers one by one without exposing the fact that there are two coins there. The point is to let the half dollar remain in view until the last possible moment. You also have to practice doing this without clinking. (If you move your right fist
Toss the half dollar onto your right palm, into Classic-Palm position. There are now two coins on your right palm. "I guess that watching only two coins can also be confusing..." Take the copper coin (the gaff) with your left fingers and place it into your left pocket, "...so I'll get rid of another one." (Placing the gaff into your left pocket is interesting; I'll talk about it in the Afterthoughts.)
•1017'
hands!"
Apparently toss the half dollar into your left hand, really keeping it in right-hand Classic Palm. Your left hand closes around the half dollart?). Your right hand goes into your right pocket and brings out the Chinese coin and the regular English penny - at the fingertips. The half dollar remains in Classic Palm. Display the two foreign coins for a beat, then say, "Instead of putting them away, would you hold the two foreign coins for me?" Indicate, or ask for, one of his hands and place the two foreign coins into it, closing his fingers around them. What you do is secretly add the Classic-Palmed half dollar to the two foreign coins! No problem; it's almost like adding the palmed ball during a sponge-ball routine. The Chinese coin should be uppermost. This is so that your spectator feels (or thinks he does) a large and a small coin in his hand. It's not crucial; if he holds tight, he can't really tell what he's holding - and you're not about to give him enough time to think about it. And, clinking as you give him the coins is okay; it's natural for two coins to clink.
Afterthoughts: When you apparently toss the half dollar from right to left hand, you may prefer to keep it in right-hand finger palm rather than in Classic Palm. It may be easier for you to add it to the two foreign coins from that position. (An easier - not necessarily better - way is to let the two foreign coins fall into your right hand onto the palmed coin, then place them all into his hand.)
And, I wonder if you caught the one "illogicality"? You openly placed the copper coin into your left pocket. A moment later, you took that(?) copper coin, and the Chinese coin, out of your right pocket! Tony always does it just that way. It gets the gaffed coin completely out of the way, and he's done it hundreds of times, professionally (close-up work in bars) and that discrepancy has never been noticed. You could, of course, work it out so that the gaff is placed into your right pocket. It would entail an extra couple of hand-to-hand tosses. That's just why Tony does it as explained - he wants to keep the hand-to-hand tosses to a bare minimum.
Remember; your left hand is closed, supposedly holding the half dollar. Ask the spectator to wave his fist over yours. Then - open your left hand; the half dollar is gone. He opens his hand - he has all three coins! It's a gasper. And, he's holding three legitimate coins, your hands are empty - you're clean! Tony's closing patter line is, "Darn; it never works when the coins are in someone else's
Phil Goldstein
Tony tells me that a couple of magic dealers want to put this routine out commercially. Well, learn it - and perform it - it's awfully good! And, remember, you saw it in Apocalypse first!
TMTWO break above it. Then, as you say, "like this," cut to the break.
In The Gemini Book (1983), Stephen Tucker (see his contribution also in this issue) describes a highly visual routine, called T.N.T. The routine employs two gaffed cards; these are secretly added to your regular deck. What Phil (alter ego - Max Maven) has done here is to devise a handling that allows for virtually the same effect, but without the use of any gaffed cards. It is done with any deck. The basic effect: The performer cuts a shuffled deck and finds a black king. He cuts again to find the second black king. The two black kings are then thrust into the deck to magically catch a red ace. This is repeated to magically catch the second red ace. The two black kings instantly change to the black aces. The four aces remain on the table. All is "clean."
/
•
After the cut, flip over the top (single) card to display a black king. Apparently flip the king face down, but really do a triple turnover. Quite easy because of the natural break. There'll be two natural breaks near top; for this - "go" to the upper natural break.
Six cards have to be set, on top of the deck, from top down - black king, red ace, faceup black ace, black king, red ace, face-up black ace. You're using the two black kings and the four aces. This can, of course, be set in advance, but it's easy enough to do while "toying" with the cards, to make this a completely impromptu routine. (I'll tell you just how I do it in the Afterthoughts.)
Now, the top card - thought to be the king just shown - is apparently dealt to the table. In fact, the top two cards (face-to-face aces, a black and a red) are dealt as one. Again, the upper natural break (or curvature) makes it fairly easy to "take" the face-to-face double. Also, attention should not be on the king(?) at this moment - you've already shown it. You're already talking about something else... "That's not too difficult. Far more skill is required to cut to the mate of that first high card." Do a slip cut (either in hand or to the table), losing the top card (black king) to center. And - turn over the top single card to display the desired second black king! Again - perform a triple turnover to turn it face down (go to the natural break), and apparently table the king onto the first king(?). Really do as before - "take" a double (natural break), the face-to-face aces, and'place it onto the already-tabled double. What you've done up to here, so far as your spectators are concerned, is to show your skill at cutting high cards by cutting to the two black kings - and, you dealt those black kings onto the table.
To Perform: Shuffle the deck, retaining the 6-card set-up on top. Patter about the different levels of technical skill possible with a deck of cards. "For example, a gambler would obviously find it to his advantage to develop a facility for cutting to high-value cards...like this." As the period to this remark, do a false cut - or, if you prefer (I d o ) , during your shuffling bring the set-up to center, keeping a
•1018"
And again, when you table what is assumed to be the second king - no particular attention is geared toward it; it's been cut to and shown. And, you're talking - "Now that's a reasonably difficult gambling technique. There are, however, higher levels of 'work' - known only to top experts - with which one could improve the situation by getting another high-value pair." Table the deck face up. Pick up the tabled 4-card packet (apparently the two black kings) and, using both hands, spread these as two facedown cards. Again, the natural break, between the two face-to-face pairs, facilitates this. I will try to explain exactly how I do it. If you hold the packet at its inner right corner with your right fingers, you'll get a pretty much automatic separation between the pairs at the outer left corner. Your left thumbtip pulls down the lower pair at that corner (at that separation) allowing your left forefingertip to move in between the pairs. (Fig. 1 is a highly-exaggerated view of that forefingertip just entering.) The forefingertip keeps the face-to-face pairs separated as your thumbtip moves to the upper pair's left side and pushes the pair (as one card) to your right. Note that your right forefingertip rests against the right long side of the lower double, bracing that double - keeping the two cards aligned. (Fig. 2; the right forefingertip can't be seen, but you know that it's bracing the lower pair's right long side.) Remove your left hand, and you're holding what appears to be a 2-card spread in your right hand.
holds a 3-card fan now; your right forefinger keeps the lower pair from spreading. (Fig. 3.) In appearance, you've magically "caught" the red ace. Table the face-up deck. Then, holding the the face-down double card (bottom card of the 3-card[?] fan) with your left hand, your right hand takes the top two cards - a face-down card with a face-up red ace spread beneath it - and drops the face-up ace onto the table. The remaining face-down right-hand card is replaced to beneath the left-hand double card. Re-spread the in-hand cards to look like a 2-card face-down fan again. Do this just as explained, except that the bottom card - the card beneath the natural separation - is a single card. The top card is a face-to-face double. Pick up the face-up deck with your left hand, and do just as before. That is, your left thumb riffles to allow your right hand to "thrust" its cards in/out - to "catch" the second red ace. Drop the red ace near the first one, but hold onto the two face-down cards - the black kings(?). Table the deck. The routine is apparently over - you've demonstrated your expert technique; you've "found" your two high-value pairs. Say, "There is, mind you, a still loftier approach, beyond expert gambling skill, and that, of course, is to do it by magic!," Snap your fingers, and turn over the two face-down cards to show that the black kings have changed to black aces. Drop these onto the table near the two red aces, so that the fact that you've "found" all four aces is clear - to end!
Afterthoughts: It's a strong magical routine. I 3o the "catch" of the red ace just a bit differently (each time). It's exactly as I explained in the very first issue of Apocalypse (January, 1978) in an effect called - Instant Sandwich Catch. The only difference is that I riffle the face-up deck downward at its inner right corner with either my left 3rd or 4th finger. My right hand jabs or thrusts its fanned cards into the deck via the rear end, moving (forward) instantly, through the deck. As the cards emerge, the face-up red ace is seen to have been "caught" between the two fanned facedown cards. Either way looks good; I just wanted to tell you how I do it.
This took time to explain; in action, it's a fraction of a second. Your handling may be slightly different -Âť after you try it just a few times - but the result will be (must be) the same. Pick up the face-up deck with your left hand, and riffle down at the outer left corner with your left thumbtip. As you do this, your right hand thrusts its cards (apparently the two face-down black kings) into the deck, at the deck's end, and immediately out again - in a "stabbing" action. (See Afterthoughts.) As you do this, your right thumb pushes forward (away from you) the top single card. You are spreading the upper pair only, exposing a faceup red ace. It appears as if your right hand
And, I get to starting position as follows: During a preceding effect, I manage to get the six vital cards to the top, in this order, from top down - the two black aces, black king, red ace, black king, red ace. All cards are face down. The "toying": Spread off then re-square six cards, catching a momentary break beneath them. Your right hand moves the "broken" block to the right as your left thumb holds back the top card. Before the right-hand block
•10191
clears (actually as it starts to move) use it to flip over (face up) the held-back card. (See Fig. 4.) The right-hand block falls onto and
covers this card. It's an instant maneuver. Now spread off and re-square three cards - and repeat exactly. You're in required position.
Ellipses (...) son Robert has been doing the artwork for Apocalypse for the past few (six or seven) issues. That's not because Joey Wierzbicki wasn't excellent - he was, and is - but he wants to do his magic act (under the name of Joseph) and he's been doing just fine, thank you. Did the Tonight Show, working in Las Vegas as of this writing, and so on. He's too busy. So, my son helped out. He's only 16^ (he'll be 17 in February, if I let him!) and never took an art lesson in his life. I think he's darn good - and he's getting better all the time. And, if you think that this sort of nepotism is less expensive for me, you're wrong. It costs me more! *** We spent a large part of the Labor Day weekend with Dick Cavett. Visited his beautiful home in Long Island. It is a fantastic house; Renee is quite jealous. Dick told me that one of his favorite things to perform is my Out Of This Universe (CLOSE-UP CARD MAGIC); he asked me if it was all right to riffle shuffle the dealt packets face up one or two times. He showed me what he meant. Well, of course. Obvious, but I never thought of it. If you know my routine, you know that the point is all the shuffling. And, the colors blend as you riffle shuffle face up it looks even better that way! Dick also taught me about the "dominant eye." Something I hadn't known about. Each of us has one dominant eye (just as we each have a dominant hand, left or right). It seems that professional boxers try to take advantage of this sort of thing...if you know which is your opponent's dominant eye it's better, I guess, to try to hit him from the other side. Our discussion was - can the concept be used in magic? I don't know; haven't thought of a way. How do you tell which is your dominant eye? Like this: Stand facing a friend, a wall, a door, as if getting ready to draw your gun in a shootout...your hands are at your sides. Select one point - your friend's nose, doorknob, anything. Keep both eyes open and looking at that point. Extend your right forefinger (if you're right-handed), and bring up your arm as if to shoot the "point" with that forefinger - as a child would do..."Bang; you're dead!" Keep that forefinger pointing directly at the "point." Now; close your left eye. You're seeing only with your right eye. If your "gun" - your forefinger - is still right on, pointing directly at the selected "point," then your right eye is the dominant eye. Prove it: Open your left eye as you close your right eye, and your "gun" will jump off target by inches or feet, according to how far you are from your "point." A right-hander is usually right-eye dominant, but not always. Dick isn't. He's left-eye dominant and right handed. That can get hairy under certain circumstances... for example, when you're aiming a rifle. You'd hold it and aim as a right-hander does, but have to look through the sight with your left eye. Try it. *** Tannens Jubilee was pretty good this year. Frances and Jay Marshall were the recipients of the "Louie" award (a name I suggested to Tony Spina and Jack Ferero when they originally told me about the Louis Tannen award). I can't think of two people who deserve the honor more. The Friday night and Saturday night shows (I didn't see the Thursday night show) were better than usual, the close-up was excellent. I particularly enjoyed the Japanese visitors (I have some good stuff for Apocalypse from them), and really all the close-up workers. *** BEST OF FRIENDS, VOLUME II is moving along quite well. Shouldn't be long now. It will be a blockbuster of a book, and will form a beautiful "set" with BEST OF FRIENDS, VOLUME I. I could not give it all my time because I also have a book (on memory) for the public coming out in the spring (Holt, Rinehart And Winston is the publisher). And, let's face it, that's what pays the
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VOL 8 NO. 2
FEB., 1985
pocalypse ISSUE NO. 86
SPECIAL ALL-CARD
Š COPYRIGHT 1985 by H. Lorayne, Inc.
ISSUE anc
wish you could see this performed. It is a startling - really startling, when done right - solid-through-solid effect; one card "penetrates" another card. This isn't the kind of thing with which I can go into precise and specific detail. Each performer will probably hold the cards, at specific times, just a little differently. I'll be specific enough, however, so that you understand the idea and the general handling. Then, you're on your own. The basic effect is that a signed selection is sandwiched between two jokers. It then visibly penetrates the lower joker. This is done twice; once with the selected card face down, and again with the card face up so that the spectator's signature is visible throughout. Some of the ideas may not be completely new, but I think that the entire handling and concept - is. (David wanted to do the "silk through mikestand" effect with cards - and without a reel!)
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You'll need a red-backed deck and a bluebacked deck, and an easy-to-make gimmick. The gimmick is a half card; that's all. Simply cut any matching red-backed spot card (use an old card if you like) that's symmetrical - same at both ends; that's any card but a 7-spot - in half across its width. Let's assume your half card is the 2D. Set Up: Remove both jokers from the blue deck and place the face-down (red-backed) gimmick between these two face-down jokers. The "cut" edge of the half card must face to your left (the "whole" end to your right). Place the jokers and gaff to the center of the blue deck. Place the regular red-backed 2D on top of the red-backed deck. Case both decks; you're set. To Perform: Remove the blue deck, spread it face up and remove the two jokers - gimmick hidden between them. No need to say anything about the jokers being together. Table the two (reasonably) aligned face-up jokers and place aside the rest of the blue deck. Pick up the face-up jokers and display them - do a block push-off with your left thumb. This pushes off the upper joker and the hidden half card, which are taken with your right hand. Display for a beat - your right fingers keep the gimmick hidden beneath the right-hand joker. Then, replace the right-hand joker onto the left-hand joker. Flip the package face down, flipping over to your left, like turning the page of a book. Table the face-down package.
remaining left-hand joker, if it isn't already so aligned. (Fig. 1.) A slight jiggle of your left hand will do it for you if it doesn't happen automatically. The tilt of your left hand is what does it, mainly - and, of course, the half card is out of your spectators' line of sight. Replace the right-hand joker, covering the gimmick. Be sure not to disturb the position of the half card - it remains situated as shown in Figure 1. Now, you're going to alter your grip on the package. With your right thumbtip and 1st and 2nd fingertips grasp the right long side of the package, a bit below center; thumbtip is on top. Release with your left hand and re-grasp (with the still palm-up left hand) the packet still from underneath - left thumbtip at inner end, 2nd fingertip at outer end. And your left forefingertip pushes up slightly from underneath, giving the package a gentle bow, and facilitating the following: Rotate your left hand so that the outer (finger) end of the package is now toward your right; a long side (and gimmick) is toward you (thumb end is to your left). Pinch at center of this (toward you) long side with your right thumbtip and 1st and 2nd fingertips and do a block push-off with your thumbtip. Push the top joker and the gimmick up (or forward, according to how you're holding the cards) a bit less than half an inch. The top joker and half card remain in perfect alignment. If they don't - it isn't a problem. As you push them up, tilt the backs of the cards toward you. Any mis-alignment won't be seen (except by you) and your right thumbnail can push the gimmick back if it should protrude a bit. Turn your left hand so that the backs of the two jokers are toward your spectators - to display. Your thumbtip is now at the lower end. (Fig. 2. You may have to turn your hand to get to this position. Your individual handling decides it. I told you - I can only teach the general idea, then it's up to you.) When you've tried this a few times, you'll see that it takes only seconds to reach this position. And, so far as your audience is concerned, you're only handling two jokers.
2 Force the 2D from the red deck; the Classic Force is best. Toss it face up onto the table, hand a marking pen to the spectator, and ask him to sign its face. Casually indicate the end of the 2D. This is not crucial, but it will look better later if the signature is visible across the end. But, if the card is signed the long way, a part of the signature will be visible later - so it isn't crucial. As he's signing, place aside the red deck, and pick up the two blue-backed jokers - half card gimmick still hidden between them. Hold them in left-hand straddle grip; that is, the inner right corners of the jokers rest between your left 3rd and 4th fingers. Tilt your left hand palm toward you; the inner right corner of the package is now its lowest part. Your right hand, from above, removes the top joker and makes circular motions with it. David talks about "loosening the molecules." As that top joker is taken, the gimmick faces you; and gravity should position it so that it lines up perfectly with the inner right corner of the
Pick up the signed 2D with your right hand and hold it face up at its right end. Then, do a fake "sandwiching" of the red-backed card to between the two blue-backed jokers. Turn the 2D face toward you (back of all cards are now toward audience) and simply pretend to insert the 2D between the jokers at the outer long side, but really slide it beneath (or behind) the two jokers. Do it slowly; let the lower long side of the 2D "ride" along your left thumbtip pad. And, the card slides between your left forefinger nail and the bottom joker, enabling your left forefinger to keep it pressed up against that bottom joker - maintaining the gentle bow "1022 •
of the package. The "sandwiching" of the 2D can be made to look perfectly legitimate. You can do it with the backs of the cards pointing upward or, as David does it (and as described here), with the backs of the cards directly toward the spectators, as in Figure 2. "Insert" the 2D until its left end lines up approximately with the upper joker's left long side. You have to approximate this because you can't see the upper joker's left long side. (Fig. 3 depicts the position at this moment.)
Now, the proof that the 2D is sandwiched between the jokers. You'd better get to position and follow along with cards in hand. Your left hand rotates so that its palm is more or less toward the ceiling. The backs of the cards can be seen by you and your spectators. With your right thumb and fingers gently lift the top joker only. Start by grasping the inner left corner of the top joker with your right thumbtip and lifting it up and away from the package. Make sure that the half card remains on the bottom joker. As your right hand lifts, the flesh of your left thumbtip pad keeps the gimmick in place. (See Fig. 4.) Keep raising the left end of the upper joker. Its right end remains in place - your left fingertips act as the "hinge." As soon as you can (when the left end of that top joker has been raised about an inch) move the entire card forward (or upward); that is, in the direction it was (block) pushed off a moment ago. Move it forward about three-eighths to half an inch, then replace (flush) its left end, regrasping that end with your left thumbtip. The object here is to expose a "slice" of the lower (un-cut) end of the half card. It should be exposed a bit less than a half inch. (Fig. 5.) You may want to (or have to) pull the half card down a bit with your right thumbtip - to make the "sandwiched" card the correct "length." •10231
What follows really "locks in" the factt?) that the 2D is sandwiched between the jokers. Remove your right hand (all cards are easily kept in position with the left-hand grip) and turn it palm up. Reach under the package (at the lower joker's inner long side) with your four right fingers, letting the pads of all four fingertips contact the lower end (at its edge) of the signed 2D. Your right thumbtip moves onto the back of the half card. (Fig. 6.) Relax your left forefinger allowing the "bow" to leave the package. As it does, your right hand slides to the right moving along the signed 2D and the half card as a unit. Let your spectators see the backs of the cards as you slide the 2D and the half card to centered position. The illusion of moving the sandwiched (whole) 2D is perfect. (See Fig. 7.)
Move up your left forefingertip again, "re-bowing" the package slightly. Remove your right hand for a moment - you're displaying the sandwiched 2D. Re-grasp the 2D and half card with your right fingers and thumb exactly as in Figure 6 (except that the card[?] is at centered position) and, this time, slide the 2D and the half card (as a unit) downward (toward you) until the inner end-edge of the gimmick is in the white margin of the lower joker. (Fig. 8.) Move your left hand, if necessary, until the backs of the cards are directly toward the ceiling (so is your left palm). Pinch the inner long side of the lower joker and the end of the half card between your right thumb and forefinger. Holding the lower joker and gimmick in place this way, your left hand slides the top joker toward you until only a narrow slice of the half card's red back is visible. You'll see that it's easy to keep the signed 2D stationary as you do this. Be sure to press upward with your left forefingertip, keeping the bow in the package - all will then work smoothly. You're ready to perform the "penetration." Remove your right hand and turn it so that its palm faces left. Then, place your right thumb on the inner long side of the lower joker; your right 2nd finger(tip) goes onto the outer end of the 2D. The idea is to leave as much of the back of the package as possible - visible. (See Fig. 9.)
signature-visible, 2D! Like this:
Now, this is awfully pretty; in effect, the inner end of the real (whole) 2D is switched in for the half card. And it is completely imperceptible. From the position in Figure 9, your right thumb (actually, your entire right hand will move) pushes the lower joker and the gimmick forward. This simple, open, action aligns the two jokers, hides the half card and enables you now - without pausing - to slide the real 2D back toward you! Your right fingers haven't changed position and it simply appears as if you're moving the sandwiched 2D forward and back for display purposes. Your left forefingertip, of course, keeps that 2D up against the lower joker. It's the continuation of the perfect "sandwich" illusion!
Lower the face-down jokers into your left hand - to dealing position; the sandwiched half card should be at the right long side of the package. Your left thumb block pushes off the top joker and the gimmick (you can move the package up to Elmsley-Count position if that's easier for you) into your right hand. Hold with your right hand as your left hand turns its joker face up and slides it to beneath the right-hand card. Actually, it goes between the right-hand joker and the half card. Turn the top joker face up with your right hand and place it under the left-hand joker. The facedown half card is sandwiched between the faceup jokers. Flip over the packet end for end. The jokers are face down and the sandwiched half card is face up - and in correct position for a repeat. If it isn't, work it out so that it is.
Slide the 2D forward/back another time or two. During these "slides," remove your left forefinger from beneath the package - it's no longer needed. Your right fingers gently lift the 2D so that its back presses up against the face of the lower joker, as you do the forwardback slides.
Hold the jokers in straddle grip, etc. Insert the 2D face up; just keep the signed end visible during the insertion, and as you perform the penetration. Done with the jokers face down and the selected card face up, it looks even more magical!
Stress that the signed card is between the jokers, count to three, and lower your right hand and the 2D in a sharp downward movement. Straighten your left forefinger as you do this (if you haven't already done so) so that the 2D rests on, bends slightly over, the side of that finger. You want as much space as possible between the 2D and the rest of the package. (See Fig. 10.) Hold the position so that all can see the penetration; let it register. Then, your right down 2D onto the table. it face up to verify .the jokers and, at the repeat, the repeat that
Afterthoughts: The face-up penetration was suggested to David by Mike Gallo. Oh, and the clean up: If seated, simply hold the jokers in your left hand, raise the inner end of the top joker with your right thumb and let the half card slide out into your lap. If standing, move the bottom joker to the top, leaving the half card at bottom. It's now an easy matter to cop it as you toss out the jokers.
thumb pushes the faceAs your spectator turns his signature, you show same time, set up for a penetrates the face-up,
Willie Schneider
It was not easy to explain and teach this effect. So my explanation is long; the effect isn't. Learn it - it's excellent!
Flash Surprise
easier to obtain good gaffed cards nowadays than it was years ago. Particularly since Bicycle is manufacturing them. (A deck of mixed gaffed Bicycle cards is available from magic dealers.) Arrco (Tahoe) also manufactures their own matching-back gaffs. Willie tells me that the basic idea for this packet effect comes out of Holland. He's not sure of exactly where, what, how, etc., but this is the way he does it. You have to be able to do the Hamman Count, and you'll need: Three blank-faced cards - matching backs, of course; a regular AS with matching back (matching the backs of the blank-faced cards); two AS's with blank backs. The six cards are set from top down - the three blank-facers, backs up; the face-down regular AS; the two blank-backs up AS's. If you were to spread the six cards you'd see, from top down, four matching backs followed by two blank backs. I won't include much patter; I'll leave that to you. It's put together to show backs and AS faces throughout; "locking in" the backs and faces is what makes the final change a "flash surprise," as you'll see. Performance: Bring out the squared, facedown, packet. Deal the top card face down onto
"1024"
the table. Willie does this without an accompanying remark. Hamman Count the remaining five cards as five cards, doing the "move" on the count of "three." This shows five normal backs. Flip the packet face up and repeat the count exactly - to show five AS's. Your patter is explanatory - "There are five cards left (show the five backs); they're all aces of spades" (show the five[?] AS's). The Hamman Count has been taught in Apocalypse on a number of occasions. See Really Wild Jokers; the August, 1983 issue, for one. (For this, peel one card, then another, then the "move" - your left hand takes all the right-hand cards as your right hand takes back the first two peeled-off cards.) As soon as you've done the Hamman Count to show the five face-up AS's, deal the two uppermost AS's onto the table. Immediately flip the remaining in-hand packet face down and fan the three cards. This "locks in" the fact that you really did have only five cards in your hands. Pick up the tabled, face-up, AS's one at a time and intersperse and out jog them among the three face-down cards. (Fig. 1.) Be careful not to flash the backs of those two AS's as you do it. Pause for a beat, then say, "I think there are too many aces of spades here - I'll use only four of them." Reach under the fan and take
say, "Where would you say that blank card is now?" The main point is that you're showing and "locking in" backs and AS faces. No matter what answer you receive, flip over the top card - a (the) blank - "It's on top." Flip it face down again.
the lowermost (face-down) card - the only regular card - turn it face up (AS, of course), and table it alongside the face-down tabled card.
Reverse count the five cards (legitimately) twice, saying, "This will probably confuse you. Where do you think the blank is now?" (You will always end the reverse counts with a facedown card on top.) Whatever the answer, flip over the entire packet - there's a blank at its face - and say, "That's right (or " n o " ) , it's here. But you'd be right no matter where you guessed, because they're all blanks!" Immediately spread the five cards to show the five blanks - the "flash surprise." (See Fig. 2.) Afterthoughts: Yes, it is true that the ending isn't completely logical, but it simply doesn't matter; it's a startler. The regular face-up AS is still on the table. What I like to do is to square the in-hand cards and flip the packet face down (a back shows) as my other hand picks up the tabled AS, flips it face down onto the packet - and the packet is pocketed.
Pick up that face-down tabled card, hold it for a moment, as you ask, "Did I show you this card?" The answer of course is "no" - but whether or not you get an answer, turn it face up to show (and mention) the blank. Place it face down to the bottom of the 4-card in-hand spread - and square.
Obviously, you can use any card you like as the "vital" card; it doesn't have to be the AS. And, the cards can change to, say, jokers rather than blanks. You can work it out any way you like. I've taught it exactly as Willie did it for, and taught it to, me.
Reverse count (legitimately) the in-hand five cards from one hand to the other, as you
G
R^chard Vollmer
Lady Vanishes (at least) the bottom 10 cards; you've also kept the AS at bottom, and the QS on top. If you don't faro from the bottom up, it can perhaps be a bit of a problem to get that righthand bottom card to directly above the AS. So, here's another way: Cut a larger batch from top. You have to leave at least eleven cards in the bottom, smaller, portion.
Richard was inspired by Francois Ziegler's Layla (Apocalypse; Nov., 1980). He thought that a fine effect but, in his opinion, perhaps a bit confusing. He also wanted to cut down on the set-up. The effect, therefore, is similar to Layla, but the method is entirely different; it's "just about" impromptu. In order to work it out, Richard used (without realizing it) a concept I first published in AFTERTHOUGHTS, in a routine called Tally-Ho Detector. You can start with the five necessary cards set, but it's an easy matter to set them as you look for, and remove, the four queens. This is what you have to do: Memorize the 5th card from the face (see Afterthoughts), and set the AS, 3S, 5S, 7S, 9S at the face of the deck, AS at face, as you remove the four queens. So, you know the 10th card from face at this point. The QS is at the f^ace of the four queens. Display them, then square them, face down, onto the deck. Steal the QS (to the top of the deck) as you square the remaining three queens and place them (as four) onto the table. Shuffle, so far as the audience is concerned. What you really do is a faro, setting the rest of the effect. I'll explain it just as Richard does it, then I'll explain my own way, which may be easier for some. Cut off more than half, from the top, with your right hand. Then faro that top portion into the smaller bottom portion, doing an "out" from the bottom. That is, the bottom card of the larger right-hand portion goes to second from bottom. (Fig. 1.) What
you've
accomplished
Now, simply "straddle" faro the large portion around the small portion. (Fig. 2.) As you square, it's a simple matter to get a momentary left little fingertip break above the bottom "un-faroed" block of cards. (The break is directly beneath the AS.) Cut that bottom broken block, not to the top, but to somewhere beneath
is to interlace
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Place the 15th card, face down, above (north of) the two portions. (If he had selected #14, you'd deal-count 14 cards, then point to the card on top of the deck proper, saying, "This is the card you wanted." Then deal it forward of the two portions. It's still the 15th [odd] card.)
the top card. (Fig. 3.) In other words, you're losing that block above the bottom set-up (19 cards) and below the QS . You've accomplished the same thing.
Turn up the top card of the dealt packet. "You could have selected this card." Turn up the top card of the deck proper. "You could have selected this card." Turn up the single card - "But you selected this card." This card will be one of the originally-set odd spade cards. (See Fig. 5.) Turn the two indifferent cards face down onto their respective packets, and place the deck proper onto the small dealt packet. Always put the deck together that way. Leave the spade card face up on the table. Pick up the four(?) queens you originally put on the table. Casually Elmsley Count the three cards as four, as you say, "I'll try to make the queen of that suit, spades, disappear." Snap your fingers, or whatever, and show the three queens - the QS has vanished! Richard does an Ascanio Spread of the three face-down cards, then turns them face up and tables them. It's a small "sucker" move; magicians may think that there's a double card there, somewhere. Of course, there isn't.
Whichever method you use, after the faro you have to give the deck one cut. With your right thumbtip, riffle to your key card (the card you originally memorized at 5th from the face). Since that card will always be 19th from bottom, you can do it quickly. (Fig. 4.) Let that card riffle off your thumbtip, then cut the 19 cards to the top. The faro and cut take hardly any time at all, and - you're all set for a pretty stunning ending. Place the face-down deck onto the table. Ask your spectator to give you any number between 10 and 20. Stress his absolutely free choice. You're going to have to show a card at an odd-numbered position. So, if he selects an odd number (11, 13, 15, etc.), that's on the money. If he selects an even number (12, 14, 1 6 ) , you simply show the next card. So, assume he selects #15. With one hand, deal cards singly, from the top and face down, into a packet next to the deck. Count aloud as you do. It's all clean and aboveboard - to prove you're counting directly to his number.
Gianni Mattiolo
Now, point to the face-up tabled card. "The card you selected is a five. (This example. ) Let's use it to find that missing queen." Count to the 5th card from the top of the deck (or let your spectator do it). It's the QS! Afterthoughts: Follow the instructions, and ft will always work out properly. (If he selects #19, that's the AS, and the QS will be on top. It's okay, but doesn't look as good. You may want to ask for a number between 10 and 19.) Richard uses a short corner card (always), placed at 5th from bottom before searching for the queens and setting up. That eliminates memorizing a key card, and also eliminates the thumb riffling to glimpse that key card. He simply riffles to the short-corner card and cuts. It's a bit cleaner. The effect is a pretty strong one whichever method you use.
Psy-Cross Force
confused me when Gianni first did it for me; I've fooled many since I've learned it. You could say that it's an off-shoot of the standard Criss-Cross force; there's no sleight of hand involved - timing is all, and that may confuse you at first. And, I'm sure it won't read well - you'll just have to learn it and try it. No surface is necessary.
Finally, hold the face-down deck in "loose" left-hand dealing position - keep that hand to your left, near your spectator's right hand; you want him (or her) to cut with his right hand. Say, "Please cut the deck anywhere you like," as you slightly raise your left hand and nod toward the deck.
You're standing facing your spectator. The card you want to force is on top of the deck. You should be shuffling, keeping that card on top, as you do some introductory patter. (Gianni usually does his Illogical Shuffle, which will appear in Apocalypse in the near future.)
He lifts a batch from the top of the deck; he has no choice but to cut from above. It's the immediately ensuing sequence of actions that will be difficult to describe. It might be a good idea for you to follow this as a friend, or your wife, cuts the deck for you.
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At this instant, your spectator is holding a batch of cards, from above, with his right hand; you're holding the remainder of the deck in left-hand dealing position. As soon as he
bottom card of that portion. As this is done, your left hand moves up and takes the cut-off portion from your spectator's right hand! Your left hand, now, remains stationary, holding that portion in dealing position. (Fig. 1 is the situation at this moment - as you'd see it.) As the almost-simultaneous actions (right hand taking your left-hand cards, left hand taking the spectator's cut-off cards) are done, turn your head slightly right to look at the exposed bottom card of the right-hand portion and to bring his attention there. Say, "It'd be silly for me to ask you to remember this card because I can see it, too..." Move your right hand and its cards to your left hand - and push forward the top card of the left-hand cards with your right fingertip, or fingertips - (Fig. 2) - as you continue the sentence. "...so why don't you remember the card you cut to." The emphasis on the last few (three) words are my instructions to you; do not emphasize them in performance. It's a quite casual, normal, statement. He takes that card the force card! I'd suggest you go over the last three paragraphs slowly and carefully.
cuts, almost simultaneously, do this: With your right hand, take the remainder of the deck from your left hand - from above - and move it to the right, raising it slightly as your right hand turns outward. The point is to expose the
Walter Cummings
Afterthoughts: This really is an excellent forced I only hope my explanation does it justice. You will have to try it, of course - and it's the "swing" of it, the un-broken sequence, that makes it so good!
Double-Cut
Substitute
There is no specific effect or routine here - just an interesting, and slightly flourishy, cut that secretly brings the bottom card to the top of the deck. And, the rest of the deck remains as is - it is not really cut at all. So, this can be used as a substitute for a double cut; it can be almost as utilitarian as the double cut. The deck is in left-hand dealing position. As your right hand takes it from above, buckle the bottom card with your left fingers; I, most often, use only my left forefinger. The bottom card separates from the deck proper at the rear end. Your right thumbtip automatically picks up a break above that bottom, separated, card. (See Fig. 1. ) The cut: "Kick" (swing) cut the top half deck into your left hand with your right forefinger. (Fig. 2.) You're now going to turn both halves face up as you complete the "cut." Your hands move toward each other as both halves of the deck start to turn slightly to the right clockwise. That is, your right hand is starting to turn palm up as your left hand starts to turn palm down. (See Fig. 3.) It is at this precise instant, as your hands are near each other - right-hand half deck just over and to the right of the lefthand half - that your right thumbtip relaxes and lets the "broken" card fall onto the lefthand half. (Fig. 4; the "broken" card has just fallen onto the left-hand half deck.) There is absolutely no pause - that's the key. Any pause or hesitation at the instant of dropping the broken card, would ruin this. The
halves continue their clockwise turns. Your two forefingers aid in completing those turns. Your right forefinger reaches to the upper long side
•1027'
of the right-hand half as your left forefinger curls to beneath the left-hand half. (Fig. 5.) You'll find yourself doing this almost without thinking about it. . •- •
Afterthoughts: Remember; from the moment your right hand takes the deck from above, it is all one continual action - no pauses or hesitations. The entire thing takes a second or so. There's a bit of a flourish involved, as you'll see when you try it. Your right hand almost automatically does an upward movement immediately after dropping the "broken" card, to allow its half deck's lower long side to clear the upper long side of the left-hand half. You will also find that your left thumb aids in pushing the left-hand half face up.
Complete the turns - the halves are almost but not quite face up. (Fig. 6.) Drop the right (now) face-up half onto the (now) face-up left half - to complete the cut. Flip the deck face down, and go from there!
As is inevitable, I tend to take things just a step further. There's no reason why the same cut shouldn't be used to move two cards from bottom to top - still keeping the rest of the deck intact. Your left forefingertip has to buckle two cards; I find this easy if I buckle the bottom card first, then continue pressing upward and inward with that finger, automatically separating the next bottom card. (Take a look at Fig. 7.) It's easy enough now for your left little fingertip to slightly pull down both separated cards, aligning them, as your right thumbtip picks up the separation above both cards. Both cards are dropped during the "cut."
6
And, if you do the cut with the deck face up, you'll be secretly transferring a card (or two) from top to bottom. Done correctly, that dropped card will not flash during the cut.
J. Gordon O'Genski
Double "Pancake" Revelation
lot often, but every so often, an item comes along that is extremely practical, and immediately useable. This (originally titled Flip, Flop, Fly by Gordon) is, in my opinion, obviously such an item. It's simply startling in performance. Gordon's inspiration is my own Salt-Less (out of CLOSE-UP CARD MAGIC) which he feels, and I obviously agree, is a much overlooked idea. You ought to look it up, and try it. You'll need to know how to do a Charlier Cut, for the control. Gordon uses a Zarrow Shuffle at one point, which is fine - but I'll give you an easy alternative for that, if you can't do it. And then you'll have to know how to do the "flip" of the deck - like a pancake. Well, not quite like a pancake - I just thought that made a good title! There is a bit of a knack involved, but that knack will come in a short while. You can make the deck do one full somersault or one and a half somersaults. This is one of the things with which you'll have to experiment. I'll discuss it some more after I teach you the basic flipover or "pancake flip" handling. Hold the parallel-to-tabletop deck with your right hand at its right long side. Your thumbtip is on top and all your other fingertips are underneath. (Fig. 1 is your view; Fig. 2 is a bottom view.) Here's the part that really can't be described - but that you'll understand the first time you try it. Simply flip over the deck onto the table. You're holding the deck, oh, about four or five inches above the tabletop. (Experiment.) And, it's not a "flick of the
wrist" kind of thing, really; your hand, wrist, forearm move as a unit. Down/up and release. The down/up is the minimal "windup" movement; the release happens during the "up." Actually, it's a slight upward push of your four fingertips against the bottom of the deck as you release - causing the entire deck to flip over to your left. It can be done on a close-up pad or on a solid surface; doesn't really matter. Now, this should be practiced until you're flipping over, somersaulting, the deck cleanly. It spins rapidly in the air and lands; that alone looks impressive. And - Gordon prefers to do a one and a half somersault. That is, he holds the deck face up; it does one complete somersault and then another half - to land face down. I prefer one complete somersault. I hold the deck face down and it lands face down. Another area for experiment. You'll also want to see whether it is easier for you to do while seated or while standing. Okay; when you can "spin" the deck to the table this way, cleanly, without really thinking about it, you're ready for the effect. Use any deck, but you have to put a corner crimp into the bottom card. I do it with my left forefingertip at the bottom card's outer right corner. (Fig. 3 is an exposed view.) I don't often think about how much of a crimp to put in - I just do it. Gordon told me that he uses what he calls a "three eighths" crimp. Experiment; I don't think it's that crucial, but it does have to be sizeable. Crimping as I suggested puts that crimp to the inner left corner when you
•1028"
turn the deck, and that's where I want it - because that's where I can see it. Have two cards (two spectators) freely selected - either table ribbon spread or hand to hand spread for the selections. Let's consider the spectator at your left #1; the spectator to your right is #2. Hold the face-down squared deck in your left hand, ready to do a Charlier Cut. Pick up #1's card with your right hand as your left hand starts the Charlier. It's fairly standard handling - the right-hand card is inserted between the halves just prior to completion of the cut. (Fig. 4.) This puts the crimped card directly onto the selected card. Do another Charlier Cut, which brings the crimped card back to the bottom. (Just about automatic as you know, and it also brings the first selection to the top. ) Your right hand picks up the second selection (the card taken by the spectator to your right) as your left hand starts another Charlier Cut. Insert the selected card to center just as before - it goes directly under the crimped card. Do one more Charlier Cut to bring the crimped card back to the bottom.
sets you perfectly for the "pancake flip" ending! Or - do Ed Mario's Perfect False Riffle Shuffle (Expert Card Conjuring) which is simply a matter of shuffling all the right-hand cards to beneath the left-hand half's top card as your left thumb raises that single card. (See Fig. 5.) Either of these puts you in ending position - which is: Selection #2 on top of the deck; selection #1 at center deck with the corner-crimped card directly above it. If you don't want to do a riffle shuffle, here are two easy ways to "set" using one cut. Do a slip cut to the table, that's all! I.e., the top half deck (all but the top card which is held back) is cut to the table. The remaining in-hand half is dropped onto the tabled half. Or - turn the deck face up and do my Halo Cut in your hands, not to the table. Either of these gets you to ending position. Now, to end: Hold the deck in pancake-flip readiness. Do the pancake flip which you have practiced, of course. (Either hold the deck face up and do a one and a half somersault, or hold it face down and do one complete somersault.) The deck flips and lands in two facedown halves! (See Fig. 6.) Ask for the names of the selected cards. Slowly and deliberately turn up the top card of the left half - it's the first spectator's card. Turn up the top card of the right half - it's the second spectator's card! End.
6 Afterthoughts: This is lovely. It's the corner crimp, oT course, that causes the deck to split into halves during its pancake flip. And it always splits at the crimped card! That crimped card will be the bottom card of the right half. Sometimes a half will spread when you do the pancake flip; simply square it - or don't, it doesn't matter. And, before you've practiced enough, a half may land face up; simply turn it face down.
Do the entire (above) sequence of losing the two cards in a fairly rapid rhythm, and it sure does look as if they really are lost. I think you'll confuse other magicians with it. The selections are on top in 2-1 order, and the "losing" sequence isn't over yet. One more maneuver remains; it sets you for the ending. Table the deck for a table riffle shuffle and cut the top half to your left as the first step of the shuffle. Zarrow shuffle the right half to beneath the left half's top card. So far as I know, the Zarrow shuffle has never before been used to serve this exact purpose. It •1029"
I've taught it the way I have to make you aware of the fact that the (selected) card at center, directly beneath the crimped card, is the one that ends up on top of the half deck at your left. Once you've got that straight, you can work it any way you like. (I don't bother keeping track of which card is which spectator's; it doesn't matter to me if each card is on the "correct" half.) If you think as I do, you've already given some thought to using the idea to "locate" more than two - say three - selected cards, or as a 4-ace revelation. Yes, it can be used for either. I don't want to take the space to go into detail, but one way to use it as a 4-ace revelation is: "Lose" the aces, but get them to the top - crimped card is on bottom. Zarrow Shuffle as explained, but under the left-hand half's two top cards. Do the pancake flip, and there are two aces on top of each half. Slip cut each
one, Co form four packets (I do a face-up HaLo Cut with each, turning the packets face down as I complete the cut to the table) - there's an ace on top of each.
a third down from top, the pancake flip will result in three tabled packets (after some practice). See if you can work it out so that there is a selected card on top of each. I prefer to use the idea for two selected cards, exactly as taught in the text.
And, if you have two corner-crimped cards, one about a third up from bottom and the other
Ron Ferris
Ladykiller
linally; an impromptu, close-up, version of sawing a woman in half! And - that's a good patter theme. The problem is that you lose three queens and a cardcase each time you perform the effect. I showed this to some cardmen, and they all said they were going to start saving the queens and cardcases from their old decks. You are opposite your spectators - facing them. The cardcase is the usual type; one large flap, and two small side flaps. A pair of scissors is handy.
All right; simply pull the separated (by the flap) queen downward about halfway out of the case. This, of course, must be covered; and the back of your left hand serves admirably. (See Afterthoughts.) Take the scissors, patter about the classic illusion of sawing a woman in half; build it up as much as you like. Then, cut the cardcase completely in half across its width! (See Fig. 2.)
Remove the four queens, or let a spectator do so. Display them, and have the spectator indicate one of them; assume he indicates the QH. Turn the queens face down and mix them, managing to keep the QH on top. Place the .packet into the cardcase; the half-moon cutout is facing you, and so are the backs of the queens. Place the packet all the way into the case. It's as you close the flap that the dirty work is done. Squeeze the sides of the cardcase with your left thumb and fingers. You'll find that, after some practice, you'll be able to cause the four cards to separate a bit because you're applying pressure to their sides. The squeezing also buckles the front of the case outward, so that the small flaps won't get in your way. Tuck in the flap so that it goes between the top queen and the other three - in the fairly standard maneuver. (See Fig. 1, which shows the flap just entering.)
As soon as the case is closed, hand the scissors (and a piece of paper) to your spectator. He's to examine the scissors and make sure that they cut properly. As he does this, you have more than enough time to set the cardcase for cutting. It is held opening downward, half-moon cutout toward you. Your left thumbtip can cover the piece of exposed card - again, in the usual manner. And it should be casually handled that way as you hand the scissors to your spectator.
The instant it's cut, push the uncut queen back up into the case. You'll find that with just a bit of maneuvering you can manage to hold the upper, cut, part of the case in place with your left thumb and forefinger. It has to be held in place for only an instant - until the uncut card is pushed up. To end - ask for the name of the selected queen (as if you've forgotten) and dump the contents of the cut case onto the table. Three queens are cut in half; the QH is untouched! Afterthoughts: I like the concept. Fill in your own patter and buildup, of course. The handling, the halfway withdrawal of the selected queen, covering that withdrawal, and the cutting - may all seem a bit awkward at first. A bit of practice will straighten it all out for you. The only suggestion I have is for the halfway withdrawal. I find it easier to hold the cardcase in position - near the bottom, back of hand to audience. I pull out the card only about a half inch, or less. Just enough to hold it steady with my left little fingertip (against my thumb base) as I pull the case UP with my right hand. Another method, which will work well with a used case, is to gently squeeze the sides of the case as you hold it in position. If you apply just the right degree of pressure, the card will slide downward by itself. Just catch it in cutting position. Be sure to keep your left fingers together so that the card doesn't flash from between them.
-1030-
Hippie Torrales
The Perils of Jack
This kind of thing is older than all of us. Yet, Hippie did it for me - and it made me laugh, out loud. I'd have run it here anyway, because it's funny - but there was no "magic" involved. I've added the magic; obvious idea. I'll explain it just as Hippie did it for me I'll touch on the obvious "magic" later. Set the AC to JC, in descending order, to the top of the deck. That is, the JC is the top card, followed by the IOC, the 9C, down to the AC. These are dealt face up onto the table into a vertical row. They're dealt one at a time as punctuation to the following story - with proper timing, of course. "There was a fellow named Jack." (Deal the JC face up onto the table.) "Who married a the Afterthoughts.)
perfect '10.'" (IOC. See
"They had nine good years (Deal the face-up 9C.)
of
marriage."
"They had a lot in common; one thing was that they both ate like horses." (Deal the 8C.) "Another thing is that they both liked the Philadelphia 76'ers." (Deal the 7C then the 6C. See Afterthoughts.) "For the first five years of the marriage they had no children." (Deal the 5C as you say "five.") "During the next four years they decided they would have children." (Deal the 4C.) "So they had three." (Deal the 3C.) "But it was too much for Jack." (Deal the 2C as you say "too.") "Because one (of the three children) was not his!" (Deal the AC as you say "one.")
Afterthoughts: I doubt if it reads as funny as when Hippie did it for me. Now, there are a couple of the remarks that may not make sense to some. "Perfect '10'" is from the movie "10;" it means a girl who rates a 10 on a scale of 1 to 10. The Philadelphia 76'ers is the name of a basketball team. I doubt that it means anything to anyone out of the U.S.A. Or, to many in the U.S.A. for that matter. So, what I came up with for that is: After "ate" (8C) - "As a matter of fact, they once ate a seven-course (7C) meal...and got very sick" (or "sicks"! - 6 C ) . The "sick-six" probably won't work in other languages; you'll just have to come up with something of your own. An alternative for the last remark - for the AC: Set a red ace at that position. When you deal the JC and 10C, say ". . .named Jack, who had jet black hair." For the 10C - "...a perfect '10,' who also had black hair." The last remark, for the red ace - "Because one of them had...red hair!" You can, of course, make up any story you like, using Hippie's as the basis. You can set a 12th card, if you can come up with a good ending line. That is, a follow-up to the ace remark. Something that starts - "So he...." Getting the magic into this is, as I said, obvious. Basically, shuffle before dealing the cards from the top. The fact that they're there and in order, is the magic. I prefer to set the cards, then do a reverse faro. Then, during performance, I false shuffle and false cut then do an "in" faro. This places the stack to the top in ready position. I do one more overhand jog shuffle, keeping them on top. Go from there.
NEXT MONTH: Some terrific magic by Shigeo Takagi Jeff McBride Robert Bengel Tom Mullica Yoshio Hirose and more. -»—
Remember - if you photocopy this magazine, you lessen its worth to YOU! 3 Z
PUBLISHED, WRITTEN, EDITED:
Harry
ILLUSTRATIONS:
Robert E. Lorayne
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Ellipses (...) |his is Che third year in a row in which the February issue of Apocalypse has been an all-card issue. So many liked the idea, and told me so - requested that I do it again - and so on. And, I still receive more contributions in the card area than in any other area. The effects and routines in this issue are all "goodies." Enjoy! *** Something is bothering me. I'm f ortunate. . . I have this soapbox; I can stand on it and get anything I like off my chest. What's bothering me is that the new printings of my first book on magic - CLOSE-UP CARD MAGIC - are marked "Copyright 1976." I wrote the book in 1958..Lou Tannen published it in 1962. The reason it bothers me is that I write better than that now, and I wrote better than that in 1976. I don't want anyone to think I wrote that book in 1976! The entire thing is silly and more than a bit confusing. When CLOSE-UP CARD MAGIC was originally published, the copyright said simply - "Copyright October 1962." That's what it said for many printings, and for many years (12 or 14 years). It was, and is, my understanding that even though a book is not registered with the copyright office in Washington, D. C. - the word "copyright" printed in each copy automatically copyrights the book for the author. That's me! (Who else has the right to copyright a book I wrote? If anyone says he has - he'd better show me permission given over my signature! Morally, legally, ethically - you name it - a publisher will take out a copyright for the author. The author leases the copyright to the publisher... that's how it's done; that's how it was done with every book I've written for the public, published by a bonafide publisher.) You see, I didn't know I was writing a "classic" way back then...I let Lou Tannen handle everything. Well, now it seems that Tannens has sold the "rights" to D. Robblns. I have news for both parties (who are friends, and with whom I do business) - the "rights" are mine! I just don't care what date, or what name, is printed in the front of the book... I don't care what machinations have been gone through without my knowledge or consent...I wrote the darn thing, and I have the "common law" copyright. And I don't want people thinking I wrote it in 1976! I haven't done anything about it (except write this column) because I don't want to sue friends, and it isn't worth it for me to print the book myself, which I can legally do. I still supply them...wholesale and retail...and when the time comes to renew the copyright, I will renew it, and if any of my friends who are involved want to sue me - that's fine with me. It'll be interesting to hear what a judge has to say about not only the copyright manipulations, but also about the fact that I haven't received one penny from the sales of CLOSE-UP CARD MAGIC for over twenty years (at the time of this writing)! ***
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While on the subject of my own books, and things that are bothering me...lately, at a few conventions, I've performed many of the effects and routines out of QUANTUM LEAPS. Whenever I have done so, and mentioned the fact that the items are out of QUANTUM LEAPS, at least one or two people have said - "And I had heard that that was the one book of yours that wasn't so terrific." Well, it's my favorite, and I sell them like crazy whenever I decide to do some of the stuff out of that book. I don't know how silly rumors like that get started (unless it's because of the non-review - a complete-lie type thing - that one idiot wrote after the book came out. He's since admitted he was wrong to me personally, but not in print. I don't know...he's certainly not widely read, but one never knows...I guess). In any case, the "in" card people (I've been told) consider it a "Bible" (whatever that means!) How could anyone think that a book that contains The Best Gosh Darn Impromptu Linking Card Effect You'll Ever See! and An Amazing Revelation-Display and The Super Peek and The NonFaro Faro is "not so terrific"? Just these few would make it more than terrific. But - it also contains The Lorayne Bluff Count, The Illogical Double Lift, Manipulative Aces, Lorayces, The (N)Eye(N) Popper, "Super" Ace Control, Lorayne's Invisible Pass Routine, One Good Turn, An Extraordinary Prediction, Impromptu Psychic Poker, Straight On, Heart Run, Carnal Knowledge, The Mate Trap, HaLo Royal - and about forty more effects and routines. Somebody's kidding me...right!? ***
is published every month by Harry Lorayne, All checks are to be made payable to Harry Lorayne,
at: 62 Jane St., New York, N. Y. 1001k. and mailed to him at that address.
Individual issues - $3.50 each Overseas subscription - $hl.5O surface mail Subscription - $36.00 per year (U.S.A. dollars only] - $1*9.00 air mail All back issues - $3.50 each, plus pstg. $51.50 airmail to Australia, Japan, So. Africa, Canada & Mexico - $kl.5O surface mail.
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etc.
Lofayne's VOL. 8 NO. 3
$3.50
MARCH, 1985
pocalypse COPYRIGHT 1985 by H. Lorayne, Inc.
Shigeo Takagi B B have the feeling that I'm writing and teaching a classic routine here. It will take some time and space because I want to teach it exactly as Shigeo does it. It's lovely! You'll need a small "coin" purse - either a Goshman purse, or one similar to it; three half dollars and one smaller odd coin. Shigeo uses a Chinese (holed) coin; it's about the size of an American quarter. Nothing "extra" is used and there's no lapping, but you have to be working on a close-up pad and no one can be seated directly behind you. The four coins are in the closed purse. To Perform: Bring out the purse, open it, and dump out the four coins, more to your right than to your left. Display the empty purse by holding it mouth toward spectators with your left hand. The way you hold it is important. Its bottom is on your palm; both your second and your third fingertips are at the outer metal rim of the right side. (See Fig. 1.) After displaying the inside, turn the purse's opening upward and toward you; your second and third fingertips bend farther down into the purse, as your right hand reaches for the Chinese coin. What follows is a beautiful "steal-out" of the Chinese coin. Place, or drop, that coin into the purse - really placing it between your left second and third fingers, which hold it. See Fig. 2.) As your right hand
Pursonaltty M033I
moves to snap the purse shut - and your right hand affords the "shade" - simply open the left second and third fingers, moving the coin out of the purse. (Fig. 3.) As your right fingers snap the purse shut, bend in your left fingers, bringing the coin to behind the purse. (Take a look at Fig. 4.) After a try or two you'll see that the entire maneuver takes a second or so; certainly no longer than it takes you to say, "The Chinese coin goes into the purse."
As it does, your left hand releases the hidden coin (drops it onto the pad) and turns palm up, covering it. This can (and should) be done without flashing the Chinese coin at all. As your left hand is turning palm up, your right hand is picking up the three half dollars. Display them on your palm-up right hand for a beat then count them ("one, two, three - half dollars") onto your left fingers, which is the "reason" for having turned your left hand palm up. (See Fig. 8.)
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You can even complete the maneuver before you end the remark - or as you end it. The completion: As soon as your right fingers snap the purse shut, your right thumb moves down to behind the purse and grasps the hidden coin and the purse so that your left hand can let go for the moment. (Fig. 5.) Now, re-grasp the purse with your palm-down left hand - fingers on the coin, thumb on the opposite (under) side. (See Fig. 6.) Turn your left hand outward (palm up) placing the purse into your right hand (or taking it with your right hand) as the hidden coin remains in left-hand finger palm. (See Fig. 7.) Your right hand tables the purse - a bit forward (north) and in front of you. At the same time, move your left hand to palm-down rest position on the tabletop (to your left).
8 Your left hand closes around the half dollars, turning palm down as it does, while your right hand reaches for the purse. But your left hand does two things during its movement that are difficult to explain in print. I'll tell you the objectives; then you'll have to work at it for only a short while. As your closed left hand reaches palm-down position, your left fingertips scoop the Chinese coin into the hand as the three half dollars are brought to between your thumb and the side of your forefinger. The exposed edges of the three coins must be clear. This can be done silently although it isn't essential to do it that way. Half dollars could, conceivably, make noise if you were closing a hand normally around them. Your closed fist is fingers down, so all is covered. (Fig. 9 is an exposed performer's view. I simply tilted my fist up - "hinging" at the little-finger side in order to pose for it.) And, again, this is all done during the time it takes for the right hand to pick up the purse. Pick it up with your palm-down hand; fingers on it, thumb beneath it. Move it toward your spectator, turning the hand palm up (thumb is now on the purse) as you do, and as you say, "The Chinese coin here in the purse." The three
If you go over the above actions just a few times, you will see how beautifully they blend. Okay; when your right hand tables the purse, it reaches for the three half dollars. •1034"
half dollars are stolen during your next remark. Say, "And the three half dollars are here in my hand." As you say it, in an indicatory movement and/or gesture, your right hand turns palm down moving back toward your left fist.
open left hand palm up so that it's seen to be empty. Then, it appears as if you pour the half dollars out of the purse. Do it like this:
Using proper timing, your left fist turns fingers up to meet the purse. Done with proper timing - no hesitations - your right thumbtip is just at the half dollars as you come to the end of your remark. (Fig. 10 is a stop-action performer's view; there would be no pause here in performance.)
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Turn your right hand palm toward you as your palm-down left hand grasps the purse, your left fingers covering the half dollars. This looks exactly as in Figure 6. Turn your left hand palm toward you, purse clasp upward. (See Fig. 12.) As you do - there are no pauses in performance - your thumb and forefinger hold the purse as your other fingers (holding the half dollars) move down to slightly beneath and behind the purse. And your right fingers open the clasp at the same time. (Fig. 13.) The half dollars should be moved to position silently, but a bit of clinking won't "kill" it. If the coins were in the purse, a bit of noise would be conceivable.
12 Your right thumbtip takes the three half dollars (as the right hand moves) pressing them up against the purse - this is done silently and as you end the remark, you're indicating your left fist with the purse. (Fig. 11 - an exposed view.) Turn your left fist fingers down and hold it alongside the purse. Say, "Remember; three half dollars here..." as you indicate or gesture with your fingers-down left fist, "... and the Chinese coin in the purse," as you indicate the purse. "But watch!" Do a slight tossing gesture - left fist toward purse - and open your left fist letting the Chinese coin fall to the table. Turn your
Turn your left hand palm down, turning the purse (open) mouth down - and release the half dollars. Let them fall either onto your right palm or onto your close-up pad, from a distance of at least a few inches. (Fig. 14.) Because they're falling from behind the purse and close enough to it to hit it - it does appear exactly as if they're coming out of the purse! End of routine. Afterthoughts: It's the kind of routine that could Be clone silently and to music! It flows. Both steals - the Chinese coin out of the purse, and the three half dollars out of your left hand - are excellent. Do them correctly and well, and you'll get gasps when the Chinese coin falls out of your left hand and when the three half dollars fall "out of" the purse. Practice; make all the actions (and patter) blend - and you'll have a routine you'll perform often, because you'll be asked to perform it often.
Tony Lopilato Linking Ring Spin Flourish Walt Maddison Not Marked! David Ben How Sweet It Is! Ian Baxter So Simple - So Good plus magic from
Doug Edwards - Charles Hudson - Ben Harris - Steve Rogers
Remember - if you photocopy this magazine, you lessen its worth to YOU!
PUBLISHED, WRITTEN, EDITED: -1035-
Harry Lorayne
ILLUSTRATIONS:
Robert E. Lorayne
Tom Mullica
Dealing-Position Spinout
You won't get this to work the first time you try it. Or, you'll get it to work the first time you try it, but not the next few times. It is a "knack" kind of thing, but a knack that's easily acquired. The object is to cause the top card of the deck to spin straight out in front of you. There's no get-ready.
will be whether you get a better ("sailing") spinout when the two vital fingertips are right at the outer right corner of the card, or a bit below that corner. Now, just open your second and third fingers - sharply. The card should spin out; it can spin up to four or five feet away from you. It's difficult to describe the exact movement of the card as it moves off the deck and out from between those two fingers, but I'll give it a shot. Actually, you'll find that your third finger opens a bit faster than your second finger. The third finger supplies the motor power, the momentum; the second fingertip acts as the fulcrum or pivot point. The card should start to move out on an almost horizontal (parallel-todeck) plane. (Fig. 2.) And it will snap spin off when at about the position shown in Fig. 3. I may not be helping you by telling you this. If you try to get to the specific positions described and shown you'll, of necessity, be doing it slowly, and the card may just "sit" there! Get the basic idea in mind, then just do it. The knack will come, and you'll surprise yourself when that card really sails out, spinning rapidly. Afterthoughts: That's about as teachable as this move is! You'll simply have to work with it. Tom uses it as a gag, and surprise, during a routine. He glimpses the top card, or gets a known card to the top, and says, "If your card was the (he names the glimpsed card), I'd just do this (spins the card out toward the spectator) and the trick would be over. But since that's not your card..." - and he continues with the planned routine.
The deck is in left-hand dealing position. Your left thumb pushes off the top card so that it "rides" over your third fingertip. Bend that third fingertip in under the card as the card moves; then, it actually moves over the third fingernail. This will clear up for you when we get to the first illustration. At the same time your second fingertip bends down onto the card near its outer right corner. This has caused the card to automatically move back just about flush onto the deck. (Fig. 1 depicts the situation at this instant.) An area for experiment
Robert Bengel
my ly it in
I've had a "dealing-position" spinout of own on file for years. The method is entiredifferent, so is the "look" of it. I'll put in print some day - either in Apocalypse or a book.
Point in Case
lobert was impressed with Paul Gertner's Case In Point (Apocalypse; January, 1981). He wanted to perform the same effect without any handling of the cardcase during performance; the case doesn't move at all. And - he wanted to show his hands empty before opening the case and having the selected, signed, card removed. So, it's a signed-card-to-cardcase effect with no "handling" of the case. Your right thigh is what will enable you to do it! The only preparation is to remove the two side tabs (near the flap) of the case (although you might want to try it with the tabs attached) and to adjust - bend or crease - the flap area so that a bevel is created to facilitate the loading of a card. (Fig. 1.) This is presented standing up - not seated. The cardcase is at the inner right corner
of your close-up pad (or inner right area of the table) just at the table's edge; half-moon cutout up and opening pointing away from you. Have a card freely selected, signed, etc. Control the card to second from bottom. Robert simply gets a break beneath the top card of the deck, then has the selected card placed on top. He double undercuts to the break.
Now; show that the selected card is not on top or bottom. Then, at this point, Robert does my HaLo Cut, without completing the cut. This keeps (brings) the selected card at (to) bottom
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of the right-hand half deck. If you don't know my HaLo Cut, you'll have to control the card to the bottom - not second from bottom. Then you can do a simple kick or swing cut. The HaLo, however, fits perfectly - allowing you to show that the selected card is not on bottom. The right-hand half is being held from above in your right hand; thumb at inner end, fingers at outer end. Your forefinger can point to the left-hand half, as you say something like, "I think your card is in this half."
keep an extra card such emergencies.
in
the
cardcase for just
Show both hands empty as you talk, then pick up the cardcase and turn it over so that the half-moon cutout is downward. "Pop" the flap and let your spectator reach in and pull out the card. He checks and sees that it is his signed card!
2 Both hands work simultaneously now. Your left hand moves to the outer right area of your working surface and ribbon spreads its facedown half diagonally from outer right to inner left. You may have to re-adjust your grip on the half deck in order to spread cleanly. At the same time, your right 2nd, 3rd, and 4th fingers do a glide action with the bottom (selected) card of the right-hand half - moving that card's inner end to the right and down and away from the rest of the half. This is similar to the Ovette Master Move (Bottom Placement), of course. (See Fig. 2.) Your right hand should be in line to move straight back toward the cardcase - and casually get your right thigh to position behind the case, against the table edge. Move your right hand straight back, guiding the selected card's inner end into the cardcase. (You can glance down at this point since you're looking down in order to spread the left-hand cards.) The bevel at the flap makes this easy, and your right thigh is the support that enables you to slide the card all the way in without perceptibly moving the case. (Fig. 3 shows the card about halfway into the case.) There's no need to rush the load - an even, slow, pace is best. As soon as the card is all the way into the case, move your right hand (and its half deck) forward as you ask your spectator to indicate or touch one of the cards in the ribbon spread. Drop the right-hand half anywhere away from the cardcase, and use your right hand to remove the touched card from the spread. Ask if he'd be impressed if he actually found his own card. Patter a bit, then turn over the card to reveal a mistake. Don't "notice" this at first - then say that you always
Afterthoughts: This is a stunner when done properly. The cardcase shouldn't be in anyone's conscious thought until you want it to be. The card should be loaded by the time you've finished the left-hand ribbon spread - but whether it is or not your left hand can gesture, as you talk, to aid in the misdirection. It's the fact that the cardcase isn't handled - never moves that makes this strong. And, the last time I watched Bob perform this (he fooled a bunch of magicians) the ending was a bit different. He said that he had two "detective" cards - say, the two red jacks. The cardcase was opened and three cards removed — two face-up red jacks with a face-down card between them. The face-down card was the selected card, of course! A simple bit of preparation does it for you. Leave a face-up red jack in the cardcase. Insert the flap as explained. Then, insert the other face-up red jack; it lies on the inserted cardcase flap - between it and the half-moon cutout. That's all. Do the effect - the secret insertion of the selected card - exactly as taught. That card automatically goes face down between the face-up jacks. Once the flap is removed (opened), you can let a spectator remove the 3-card sandwich. Try it.
Recently I came across an old puzzle (riddle?) If it takes a clock 2 seconds to strike 2, how many seconds will it take to strike k? Well, I worked on it for a while. I came up with an answer - 5- My reasoning: I assumed that there was one second between chimes, and that each chime lasted for exactly half a second. That would work out right 2 seconds to strike 2 (one second between the 2 chimes, and a half second for each chime). Now, would the same reasoning bring me to 5 for k chimes? Yes, it would. A second between each pair of chimes comes to 3 seconds. A half second for each chime is another 2 seconds. Total, 5. But - then I looked up the answer. The answer is - 6 seconds. Why? Am I overlooking something? 33=
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Yoshio Hirose
The Invisible Hole
loshio fools everyone with this. It's in his lecture notes, and it was featured in Ton Onosaka's newsletter Close-Up, 1984. So; it may not be new to my Japanese readers. Yoshio performed it often during an American convention; it was talked about, so it may not be new to some Americans either. I feel that it should certainly be recorded here, with permission from Yoshio and Ton, of course.
over the folded bill, approximately as shown in Fig. 5. When you're familiar with the idea, you can place the bill onto the paper and fold both together. Hold this package in your left hand facing your spectator as your right hand gets the pen. Your left thumb should be behind the package and just below the slit; your left forefinger is in front, also below the slit. This will clear up (as to "why") in a moment.
The basic effect is that a spectator is allowed to push a pen or pencil through the center of a folded bill and a sheet of paper about the size of the bill. The paper has a hole (or three, as you'll see) at center at the end, but the bill is unharmed! (Fig. 1 depicts the penetration - the "moment of truth.")
6 There is a second's worth of preparation. A straight slit near the (say) right end of the bill - just about an inch in length and about three-quarters of an inch from the end, is what does it. (Fig. 2; the dark line at the right is the slit. Obviously, you should experiment with the lengths and distances.) You'll also need a sheet of paper about the size of a bill. There are pads of paper cut to that size - or you can have such a pad made up. You could, of course, tear a piece of plain (or news-) paper to size. And, it can be done with a borrowed bill. Tear the opening, as explained, with your fingers as you patter! The quickest way I've seen, and the one I'd use, is the way Lenny Greenfader does it. If you fold the bill lengthwise, a short quick tear near an end does it. Try it once or twice and you'll see how instantly and imperceptibly it can be done. (See Fig. 3.)
Push the point of the pen behind the bill and in front of the rear layer of paper, in an indicatory gesture - "If I put the pen here, that's no trick." (Fig. 6; spectators' view.) Remove and push it down in front of the bill (Fig. 7) - "If I put it here, that's no trick. So, I'll put it at center." (Doing it this way, with the patter, stresses the factt?) that the pen goes down between the folds of the bill.) Remove the penpoint and push it down between the two layers of the bill. This is where the dirty "work" occurs. As the point enters, push it gently back toward you. Because of the way your left thumb is situated, the slit will open, and - tilt the top of the package toward you so that you can glance down and see to push the penpoint down into the opening. (Fig. 8 is an exaggerated performer's view.) It should all be done smoothly, of course - no fidgeting.
To Perform: Display both sides of the bill; you can cover the slit/tear with your fingers, but it isn't necessary - it can't really be seen. Fold the bill in half, but not quite! The untorn end is folded up to cover the slit near the other end, but not quite up to meet that end. (Fig. 4; the slit is on the lower layer, near the upper end.) Now fold the blank paper
Push down until the penpoint contacts the fold (or crease) of the plain paper. The illusion from the front is perfect. Hold at each side of the pen and tell your spectator to push it down "through the bill and the paper." He does. (That "moment of truth" - Figure 1.) If there's a clip, turn the pen so that that clip
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say, "You could have pushed through here," tilt the pen and push its point through at left of the center hole. "Or here" - pull out and push through to the right of the center hole ( look at Fig. 10) - "...but you want it right through center;" pull out and push back through the center hole. Then, let him pull the pen all the way through as in Figure 9. This looks good, and enables you to show three gaping holes in the blank paper; the bill is "clean" at center!
is to the side - you don't want it "catching" at the hole. Tell your spectator to pull the pen all the way through the hole! (Fig. 9.)
Afterthoughts: That's the general, basic, idea. Each performer will handle it a bit differently. Don't use a knife or any kind of flat blade for the penetration. That'd be bad psychology. Your spectators may assume that it did penetrate, and that there's simply a slit at center! Anyway, it looks much better with a pen or pencil. Your attention at the end is on the blank paper; let the bill drop to the table and pay no attention to it. Yoshio has allowed the spectator to pick it up and look at it; so have I. The slit was not seen. Because - attention is usually focused at center of the bill. If you don't want to take a chance, snap the bill in normal display, turn it and snap again. Your fingers must be over the slit/tear when you do this. You don't want to spread the opening. Put the bill away - then come out with the "clean" bill (folded or creased as the one used, of course). I have to leave all that to you. The effect is excellent!
10 Another way to handle it is - after your spectator pushes the point through bill(?) and paper, you pull out only the point and, as you
JeffMcBride
'"Rvinkling" Change
It really is an instant change of a card. It's as magical looking as can be. The basis of the change is a Piet Forton (of Switzerland) move. The Forton move is the magical production or "catch" of a card between the two halves of the deck.
From here, Piet's original concept is a slight waving (then forward) motion of both hands as the separated card is caught between the two halves. Jeff does a "snap out" of that "broken" card. Your right hand does a slight, sharp, out and back motion - releasing the separated corner of the selected card at the same time. The card swivels outward on the fulcrum of your right second (or first) fingertip. If the selected card is brought face up to the bottom originally, it would be "caught" face up. When done properly it is an instant appearance of that card. (Fig. 2 is a stop-action view of the card coming out.)
Jeff's handling is a bit different. The selected card would be at bottom of the deck. The deck is held longitudinally from above, one hand at each end. With your right hand, cut the bottom half to the top; place it onto the original top half, stepped halfway to the right. Your left forefinger moves onto the (now) top half's left end, to steady it, as your right thumbtip breaks, or separates, that half's bottom card. (See Fig. 1.)
Your left hand and the left half of the deck remain stationary during the "catch;" only your right hand moves at that instant. The card appears at right angle between the halves. This in itself is not a particularly easy move to do. It takes practice. Piet originally (must be 20 years ago) showed me a fine routine based on it - a production of four cards. Jeff's change is much more difficult. I'll explain it as best I can, then you're on your own. You have to be seated at a table, opposite your spectator(s).
|his has got to be about the fastest visual change of a card I've ever seen. The problem is that it's not easy to do. I'm including it for those who continually write to tell me that they want items to practice. Well, you've got it. If you don't like to practice, you might as well pass this by.
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Turn the two bottom cards face up. During performance, the second-from-bottom reversed card would be the selected card. Break the bottom card as explained. Do the Forton move, producing a face-up card; not the selection. At this moment, as you display this card, your hands must be, toward you, past the table edge. The outer end of the "caught" card has to be on a level with the table edge, pointing directly toward it. It should be about an inch or so away from the edge. (See Fig. 3.) As you display this card, and as your spectator tells you that it isn't his, prepare the bottom card of the right-hand half for the Forton move. (See Afterthoughts.) Now, here's Jeff's change. What happens, in a "twinkling," is that the face-up "caught" card is lapped as you "catch" the selected card. It all happenT almost simultaneously. And - it's accomplished during one instant, and short, down-up, movement of both hands. Ask for the name of his card. As soon as he names it, do the move.
Both hands move down, about half an inch, relaxing the halves so that the protruding card falls to your lap. (It is practically thrown out.) As your hands move up again, do Forton's move, "catching" the selected card. That's it; and you'll never believe what an instant and magical change it is - unless you've seen Jeff do it. Remember; it's an instant down-up movement of hands and deck halves. And, it's more difficult than patting your head with one hand and making circles on your stomach with your other hand - at the same time! work
At first, you probably will not get it to at all. Then you'll sometimes catch the
second card alongside the first because the first card wasn't properly released. Sometimes the second card will fly completely out of the deck - which isn't bad; it appears as if the card changes as it flies. Jeff always gets the "caught" card to appear at right angle to the two halves. It's an instant appearance and then an instant change. Instead of having one face-up card change to another, he also uses the idea to change a face-down card to a face-up card. For that, get only the selected card reversed to second from bottom. The bottom card is produced, face down. Do the change and it appears as if the facedown card instantly (magically) turned face up. Afterthoughts: It's one of the prettiest, and most difficult, moves I've seen in some time. I haven't even mentioned how to go about preparing the bottom card of the right-hand half for the Forton move, after you've "caught" the first card. You'll have to work on that yourself. Jeff does just as with the first card. He holds the right half down with his straight left forefinger as his right thumbtip releases one card and holds the separation. I have one suggestion: Have a card selected. Control it so that it's face up at the bottom. Let your spectator take out any other card and turn it face up. As he does this, square the deck and prepare the bottom (selected, face-up) card. Break the deck into halves for the move and let the spectator place the faceup indifferent card between them. You're in position for the change. This way, you have to prepare only one card, and you have the time to do it. It's prepared before the deck is cut. Jeff also uses the change for a 4-ace production. He produces three aces, one at a time and face up with the Forton move. (As each is "caught," it's tossed onto the table.) The last card produced is not an ace; he does his move to change it to the last ace. For that, you'd control the four aces and one indifferent card to bottom - face up. The indifferent card is fourth from bottom. Well, I've explained it - I guess you'd better start practicing. I still am!
IT'D BE NICE IF YOU GOT A FRIEND OR TWO TO SUBSCRIBE TO APOCALYPSE!
Mike Bornstein
Cased-Deck Penetration
|his can be strong. It utilizes the old "flap" (matchbook to matchbox) idea, which has been used for a straight card change for years. As a matter of fact, after holding this item of Mike's for some time, I saw a discussion of the idea by Jon Racherbaumer, in MUM. Mike's effect involves a signed card penetrating the deck and the cardcase. Mike uses the old-fashioned - move-ityourself - flap; not the "acrobatic card" model that flips over automatically. If you know how to make it "acrobatic," and want to do it that way - fine. I'll explain, briefly, how to make the simple gaff, as Mike does. You'll need a
red (say, Tally-Ho) cardcase, one extra matching red card (the joker will do) and an extra KC (it can be any card, but the one Mike gave me uses the K C ) . Fold the joker in half across its width (end to end) so that its back is inward - face outward. Fold the KC so that it's face inward, back outward - that is, just the opposite of the joker. Mike puts a strip of transparent tape over the crease at joker face and KC back. Since the gaff will fold back and forth, this reinforcement is a good idea. Now, glue a half KC back to a half joker face. You'll form a "T" shape. Let this dry. Then glue the gaff onto
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Place the deck into the case, KC toward the gaffed surface. (Fig. 3 shows how the gaffflap is kept in place.) Don't flash the face KC of course. When the deck is completely cased, casually flash both sides of the case as you start to close it. Your left fingers squeeze the sides of the case, making it easier for you to insert the flap behind the signed KC. This is a standard ploy; you've separated the KC from the rest of the deck.
the front surface of the cardcase - the surface with the half-moon cutout. The joker's half face is glued downward of course, as is the KC's back. The single thickness KC face must be at the half-moon cutout end. Let this dry. Then cut out a half-moon piece at the KC's end to match the case's half-moon cutout. Try to leave the KC's black margin line intact. (Fig. 1 shows the finished product. The cardcase's flap is open so that you can see the the half-moon cutout clearly.) Mike puts transparent tape at the seams of the case, also for reinforcement. What you have is - if you're looking at the gaff with the case's flap to your right, as in the illustration - a card flap that when folded to the right (toward the case's flap) shows a card's back which appears to be the surface of the case, and when folded the other way, shows a full KC. Your deck is in the case; the regular KC on top; the gaff is folded so that the cardcase looks normal.
Hold the cased deck in your right hand, gaffed surface outward, almost in dealing position. Your thumbtip is at the outer right corner of the gaff-flap, keeping it flush on the case. Your other fingertips can make sure that its other side is flush. (Fig. 4.) Patter about the "new penetration miracle you've been practicing." As you talk, you can move your hand to and fro; the case looks normal from all angles. Finally, with gaffed surface directly toward your spectators, ask for the name of the selected card. After it is named, you cause it to instantly appear face outward, outside the case. It has apparently penetrated through the deck (from wherever[?] it was) and through the case! The "move" is easy.
To Perform: Bring out the case. Start to remove the deck, making sure that both sides of the case are casually flashed. A thumbtip holds the gaff-flap in place. Table the cardcase. According to how you've made your gaff, the flap may partially open, pushing the case upward, which would look strange. Try this: Don't insert the case's flap into the case as you ordinarily would - put it down over the gaff-flap. Then table the case, gaff downward and case's flap toward you. The case's flap tends to keep the gaff-flap from opening too much - a little bit is okay. (Fig. 2 is an exposed view.) Another, easier, way to handle it is to put the case into a pocket.
It's done during a slight up/down movement of hand and case. Move your right thumb off the gaff-flap, which causes the flap to open a bit. Your thumbtip moves behind it (Fig. 5) to push it down all the way - to show the KC. (Fig. 6.) This illustration shows the actual appearance at the end of the thumb's "push." What you may want to do is - as the flap comes down, your third and fourth fingertips hold it down as your thumb moves back to the outer right corner. This affords a full view of the KC. And, it all takes a fraction of a second. It really is an instant appearance (penetration?) of that king of clubs.
All right; you can use the deck for other effects. When ready to perform this, you have to force the KC. Do it the best way you know. Have your spectator sign the back of the KC that's important. Then, it is "lost" into the deck; actually, it's controlled to the bottom.
This is fine, and a startler, but - it's the "proving" that makes it, in my opinion, a viable effect. Note, in the last illustration, that the outer-end white part of the regular KC shows through the half-moon cutout of the KC gaff-flap. It blends; the dark margin line
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(which should remain on the KC flap, as mentioned) helps this blending. From a short distance away, all looks as it should. Pause to let this "penetration" sink in. Now, turn your hand palm down, KC face to floor - and remove it! Simple. Your left second fingertip slides out the regular KC via the half-moon cutout! (Fig. 7.) Remember; you do not open the case's flap - the KC is supposedly outside the case. It looks exactly as it should look - you're removing the KC that has just "penetrated." And, your spectator's signature comes into view. Toss the card onto the table with your left hand. At this point, Mike simply pockets the cased deck, being careful not to flash the gaffed KC, of course. Do that, or - here are two suggestions: Use either the table or your body as leverage to fold back the gaff-flap as your spectators are looking at the signed KC. Now you can casually flash both sides of the case as you pocket it. Or - keep the gaffed surface toward you as you remove the deck with your left hand. You'll find it a fairly simple matter to push the gaff-flap back with your right thumb as you remove the deck. Now you can keep the deck out for other effects as you (casually) flash the case and put it away!
the gimmick is similar to this one. If you want to "gild the lily" a bit, you can try my own little addition to this. You can have a rubber band wrapped around the width of the cardcase - right across center, at the fold of the gaff. Or, you can put the band on with your left hand during performance. Now, when you do the "move," it appears as if the KC has penetrated the cardcase and the rubber band. As you remove the signed KC, secretly get the flap back to "normal" position so that you can flash that side and the rubber band before putting the case away. Incidentally, Mike uses almost the same gaff for an instant color-changing cardcase. The gaff shows a blue back one way and a red back the other way. So, assuming the case is red, the gaff-flap is held to show blue. The only difference in construction is - the bottom end of the case (2k" by V strip) is covered with the same strip from a blue case. When held in your right hand in similar fashion to Fig. 4 your fingers and thumb base cover the red sides. Remove a red deck. Look surprised, and say something like, "What's this? A red deck in a blue case! Well, a bit of magic will change that." And do the slight up/down movement, folding the flap to show red. You'll find, when you do it, that the bottom (blue) part of the case is down and out of sight. When your hand turns palm down, bringing the open flap to your left so that your left hand can close it - it's still out of sight. And both sides of the (now) red cardcase have been seen. Put it away!
Afterthoughts: I realize that, often, it's difficult to visualize an effect until you try it - or see it. If you can't visualize this, I suggest you make one and try it. And, keep this issue handy because I'll run Mike's excellent Miniature Mindreading Miracle very soon, and
Richard Vollmer
Commercial and mfg. rights reserved by Mike Bornstein and Apocalypse.
Double Chameleon
|ou might want to compare this with Peter Marshall's Really Wild Jokers in the August, 1983 issue of Apocalypse. The effect here is that three blue-backed jokers magically change to three red-backed (say) KC's - then the redbacked KC's change back to blue-backed jokers. It's a packet effect, but a card is selected from a regular deck. The Elmsley Count is the main modus operandi.
Okay; you've just shown four jokers. Flip the packet face down - "And each joker has a blue back" - Elmsley Count to show four blue backs. (Last card to bottom.) Deal off the top card and place it face up onto the table. Pick up the forced KC, show it and name it, then place it face down to the bottom of the in-hand face-down packet. Allow the blue/red contrast to be seen clearly as you do this.
You're using a regular red-backed deck. You'll need five extra cards, matching in size and back design - two red-backed jokers, one blue-backed joker, and two blue-backed KC's. Set these 5 cards, from top down - red joker, blue KC, blue KC, red joker, blue joker. If you turn the packet face up you'll see, from top down - J,J,KC,KC,J. Keep the packet in a small wallet or carrying case, or in a pocket.
Flip the squared packet face up - pause for a beat - then Elmsley Count to show four KC's! (Last card on top.) Talk about the jokers all changing to the selected card. Turn the packet face down - a red back shows. "Not only do their faces change to match your card, but so do their backs!" Elmsley Count to show four red backs. (Last card to bottom.) Toss the top card face up onto the table. (This is the selected KC. ) "There's one problem here - what if I want to do this trick again?! Well; it really isn't a problem at all." Place the tabled blue-backed joker face down to the bottom of the in-hand face-down packet. "I'd simply replace this joker. . ."
To perform: Force the KC from the regular (red) deck. Let your spectator look at it, then have him place it face down onto the table. Bring out the face-up, squared, 5-card packet. Make a remark about saving jokers because they are wild cards. Elmsley Count them casually to show four jokers. The last card goes on top. In this routine, when you're Elmsley Counting the face-up packet, the last card goes on top; when you're Elmsley Counting the face-down packet, the last card goes to the bottom - except for the final Elmsley Count, as you'll see.
Now, repeat the above, to show that the KC's change back to jokers and the red backs change back to blue backs. That is - a face-up Elmsley Count (last card to top) to show four jokers, and a face-down Elmsley Count to show •1042-
four blue backs! For this final face-down Elmsley Count, the last card goes to the top.
but the effect is clean and magical. Richard also uses blank faces (and backs) instead of jokers to perform exactly the same routine. You may think it's even more magical looking that way. You'd need one double blank card, two blank-faced cards with backs matching your deck, and two KC's (or whatever force card you like) with blank backs,
"Now, I'm ready to do the trick for someone else." Allow the bottom joker to flash as you place the packet into a pocket. Afterthoughts: No illustrations were neeessary^ and the explanation is a short one -
Apocalypse Variations or Additions J. K. Hartman thinks that Don England's "Stretching" ideas (Apocalypse; December, 1982) are fascinating. He toyed with the second version without using the deck proper. I.e., your starting packet (of four cards) is, face up and from face to rear - joker, joker, AD, AH (point of center pip inward). Spread - holding the lowermost two cards as one; you're displaying two jokers and the AD. Apparently sandwich the face-up AD between the two face-down jokers, as follows: Square the cards. Take the upper joker at its outer right corner - right fingers above, thumb below - and revolve it face down. Apparently slide it beneath the packet - actually it goes above the bottom card via a bottom-card buckle. Push it forward and almost flush, leaving it protruding from the rear (injogged) approximately half an inch. Revolve the second joker face down and set it above the AD, also injogged and aligned with the first joker. Use the Alignment Move to shift the upper threesome forward which, at the same time, squares the lowermost card (AH) with the jokers. Adjust the protruding face-up AD if necessary so that its index pip is visible. Slightly buckle the lowermost card so that it can be gripped at the inner right corner between your right thumbtip above and your forefingertip below. You are supposedly lifting and reaching under the top joker to grasp the AD; you're really grasping the AH at bottom. Pull the AH inward so that the "A" of its inner index is visible. (You can "pinch" out the AH, if you prefer - making the bottom-card buckle unnecessary.) Pull the AD forward (outward) so that the point of its center pip is visible. Cover the area which you judge will encompass the index corner of the AH with your right thumbtip and, again with thumb and forefinger, pull inward until the point of its center pip is visible. From your vantage point, the index pip should be covered, but if you look in a mirror, you will see that to the spectators just enough is visible under the curl of your thumbtip to appear to be a diamond. Now turn your left hand palm down (releasing the right hand grip) and you will be displaying the back of the stretched card! (The face of a joker will be partially exposed as it should, and the back of your left hand covers the dirty work.) Twist your left hand palm up, timing the action so that the inner corner of the AH goes back into the cover of the grip of your right thumbtip and forefinger. Compress the "stretched" card by pushing forward with your right hand and inward with your left forefinger. Spread to display as at the start, holding the lowermost two cards as one. Jerry adds, "This is the kind of thing, of course, which must be performed with a borrowed deck to be effective." I certainly agree. And, obviously, you can use two black jacks (or queens or kings) instead of jokers.
Ellipses (...) Just a few quick and fleeting thoughts this month: To answer all the calls and letters... BEST OF FRIENDS, VOLUME II should be available very soon. Maybe even about now. In any case, as I've told you, Apocalytes will most likely be the first to know. It will, incidentally, be one blockbuster of a book. Start saving your money for it...probable price - $49.50 plus $3.50 to cover postage, handling, etc. That's in the U.S.A. Surface mail out of the U.S.A. will probably be the same but, as you know, airmail out of the U.S.A. is much more expensive. *** Jonathan Neal Brown on The Tonight Show...he does about the best, choreographed, two-linkingrings routine these tired old eyes have seen.
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I'm sure it's inadvertent, but the routine Stephen Tucker calls So Be It! in one of his books...is straight out of REPUTATION-MAKERS. •j,
J*
.'.
I appeared at the Atlanta Harvest of Magic last November (for Jim and Diane Maney) . The best trick I saw...J. C. Doty lost more (weight) than I am! He looks like an entirely different and better-looking person. *** And from a Linking Ring meeting report: "(So and so) performed a new effect in his style called Out Of This Universe. This effect baffled all of us." That's nice! -.'.-*-;,It'd be awfully nice if all of you who think that Apocalypse is just about the best thing that ever came down the pike would get at least one friend to subscribe. *** There did e x i s t , for some time, a Witchdoctors Club. Dr. Dr. Ben Braude was a member. He gave me a copy of the by-laws, w r i t t e n by Clayton Rawson. I think i t ' s funny and worth reproducing. There's one reference t h a t w i l l be meaningless to many; t h a t i s - "the Dixie t a ble." For many y e a r s , magicians met for lunch every weekday in the r e s t a u r a n t at the Dixie Hotel in mid-Manhattan ( i t no longer e x i s t s ) . I t was not considered a " c l a s s " h o t e l , and we always r e f e r r e d to i t as "the Dixie t a b l e . " So, here are the by-laws exactly as w r i t t e n back then (the 1960's) by Clayton Rawson: THE WITCHDOCTORS CLUB By-laws
for any purpose will be expelled forthwith. The use of woofle dust or any synthetic called that is punishable by 10 years exile to the Dixie table. 7. Any member who uses rhymed patter will be tarred, feathered, ridden out of town on a rail and presented with a Bon Voyage gift consisting of Dell O'Dell. 8. Dr. Dr. Lyons will discuss wire puzzles and magic squares only with Dr. Gardner and only at his invitation. Any infraction of this rule and there will be a physical demonstration of what he can do with his wire puzzles. No bandaids may be employed in this ceremony.
1. A private, secret, unincorporated, non-profit organization devoted to witchcraft, sorcery and lunch.
9. Tricks using knitting needles, back scratchers, and discarded mustard plasters as suggested by Fitzkee in The Trick Brain must be performed silently and in complete darkness.
2. Dues are payable on the third Witches Sabbath of the Reformed Druid calendar. Amount: none. Assessments as needed.
10. All mention of the Parasol Trick is strictly verboten unless the phrase is used as profanity.
3. Each member shall always address each other member by his official title of Doctor. Members may append the doctorate "Md." after their names when publishing scholarly papers, signing contracts with His Highness, and at any other time. Members (already) having an Md. degree must be addressed as Dr. Dr.
11.
4.
Prospective members must be able to accomplish a presentable double lift with both hands simultaneously. The deck may be placed on the table for this feat unless the initia.te has three hands. Two-headed members must tip hatcheck girls accordingly.
5. The Publicity Chairman must appoint a committee of six members who must swear on a grimorium bound in human skin that they will do absolutely nothing, this being a secret society. Their annual report must be submitted engraved on the point of a pin.
The Sergeant-at-Arms will procure a wax image of each doctor and a supply of pins for keeping order at meetings. (Members who have not yet sat for their image must do so before Walpurgis nicht.) If this hex fails then PK will be applied to insure that the culprit's pulls break in action, his rice bowl cover leaks, and his rabbits all deliver litters while awaiting production.
12. The Witches Coven's Auxiliary (wives, mistresses, and the third blonde from the left in the Copacabana line) will supervise Bake Sales and Sabbath School Outings. 13. The Secret Grip is a double hammerlock. The password for 1965 is Hofzinser. By-laws 14 through 26 are completely Classified and follow in invisible ink.
6. Any member caught using a Bang Gun in public
All
All
is published every month by Harry Lorayne, checks are to be made payable to Harry Lorayne,
at: 62 Jane St., New York, N. Y. 1001k. and mailed to him at that address.
Individual issues - $3.50 each Overseas subscription - $U1.50 surface mail Subscription - $36.00 per year (U.S.A. dollars only) - $1+3.00 air mail back issues - $3.50 each, plus pstg. $51.50 airmail to Australia, Japan, So. Africa, Canada & Mexico - $bl.5O surface mail.
etc.
Lotayn&s VOL 8 NO. 4
$3.50
APRIL, 1985
pocalypse Š COPYRIGHT 1985 by H. Lorayne, Inc.
ISSUE NO. 88
pilat
Linking Ring Spin Fl
urish
|very once in a while, in magic, a really unique idea comes along. This, in my opinion, is a really unique idea. There's no complete or separate effect or routine here; just a "piece of business." A piece of business that can be used during any linking ring routine. What it looks like to the audience - and what actually happens - is that one of the rings spins magically between your hands. All you need, other than the ring of course, is a rubber band. That is around your left wrist; you can set for the flourish, the piece of business, at any time during your linking ring routine.
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When ready, you have to have just the one ring in your hands; other rings may be on your arm, etc. Your right hand holds the right side of the ring and places the left side onto your left fingers. (Fig. 1.) Since all my instructions are based on the size of my hands and the size of my ring, you'll obviously have to do a bit of experimenting.
Move your right hand (and the side of the ring it's holding) to your left wrist, grasp the rubber band with your right thumbtip and forefingertip, then move your right hand back almost - to original position. Remember that I am breaking this into steps for you; in performance, it's a second or so of fluid, smooth, action. At the moment, you want to bring that loop of the rubber band to the position from where it can be dropped onto the back of your left second finger - onto its nail, actually. (Fig. 2.) Do that; drop the loop onto that fingernail. (See Fig. 3.)
rubber band loop around that rim of the ring. (Fig. 4. I've opened the left fingers so that you can see the situation. In performance, they would be grasping the ring at that area.) As I said, getting to position is the matter of a second or so. And it's done as you walk to the front of platform or stage, to your left or to your right. You're going to display the ring, closer to the people sitting in that area.
Display the ring and its other side by turning it, upper rim away from you and down. (The upper rim becomes the lower rim.) Do the turning with the fingertips of both hands; the rubber band won't get in the way. Make a remark
about it being "just a 'solid' ring" as you do this. Move toward another person, or area — "See? Just a solid metal ring" - and turn the ring again. Turn it a few times, as you display it for different people. It's a natural action; the rubber band can't be seen, and - it's being twisted. (Fig. 5 shows all just as the ring is completing a turn and about to be re-grasped by the left fingers. Note the twisted rubber band.) The number of twist/turns you do is up to you. The more twist/turns, the more spin you'll get, as you'll see, but - you don't want to break the rubber band. If you do, you'll get no spin. It's a matter of feel and experimentation. Move back to center platform, and - to do the spin flourish: Hold the ring between both palms - left (fingers) on top, right (fingers) at bottom. Hold loosely, and as you say something like, "Just a normal metal ring," raise
Move the left side of the ring to your left fingertips (your right hand pulls it to the right) and grasp it with your left thumbtip and fingertips. This, automatically, bends the
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your left hand slightly. This lifts tiny bit off your right hand, and band starts to un-wind or un-twist As it does, of course, it spins the Fig. 6.)
the ring a the rubber it has to. ring! (See
When the rubber band has completely untwisted, and the ring has done all the spinning it's going to do, just closing your left fingers to grasp the ring enables you to allow the rubber band loop to slip off your left second fingertip, back to your wrist. You're clean! Go on with the linking ring routine. Afterthoughts: Try it and you'll see how pretty Ft can look. Check out a few differenttype, different thickness, rubber bands - see which works best for you. It's an easy "piece of business" to include in your routine whenever you want to. GET A FRIEND OR TWO TO SUBSCRIBE TO APOCALYPSE!
Walt Maddison
Not Marked!
the Nov. , 1984 issue of Apocalypse I described Walt's Twist And Show. I mentioned in that write-up that his "twist & show" sequence can be used for other startling packet effects. This is one of them, and startling it is. The "twist & show" sequence is the same (although much shorter) but, I'd better keep this complete unto itself. I'll re-describe it briefly as we get into it. First, you will need four cards (not five, as in the above-mentioned routine): All matching back designs - 2 red-backed blank-faced cards, one red-backed joker, one blue-backed joker. On the back of the blue joker print in large letters (with a thick-pointed marking pen): NOT MARKED Set-Up: All four cards are face down. Put the red-backed joker between the two blank-faced cards. Then place the blue-backed joker to third from top. You're set.
Your left hand returns as if to peel the next (3rd) joker (the right-hand single card). As the left-hand 3-card block moves to directly under the right-hand card, your right third fingertip automatically rests lightly at the outer right corner of the left-hand block. At the same time, your left thumb and forefinger are at the upper left corner area of the cards. There's no pause as your left thumb and (side of your) forefinger hold and apply light pressure at their corner. Your right thumbtip and third fingertip move the 2-card center block to the right. (Fig. 2 is an exposed view.) This is similar to my HaLo"Cut. Refer to Twist And Show for a more detailed description. (You now have two cards in each hand, a joker at face of each pair.) If you were to place the right-hand pair onto the left-hand cards as the silent count of "four," you'd display four jokers, hiding the two blank-faced cards.
To Perform: The patter theme is that some unscrupulous magicians and gamblers use marked cards - and that's sneaky. You would never do that. By way of illustration: You're holding the packet face down. Do an Elmsley Count to show four "normal" red-backed cards. (The two jokers are now at bottom.) Flip the packet face up and hold it from above with your right hand. Now comes the start of the "twist & show" sequence, which is Walt's "four as four" count. (You'll actually "show" five cards, but who's counting?!) Use your left thumb to peel the top face-up joker onto your left palm. (Silent count of "one.") The silent count of "two" is a switch of the right-hand 3card block for the single left-hand card. Your right thumbtip and second fingertip place the right-hand block into the fork of your left thumb as your right thumbtip and third fingertip grasp, and move to the right, the left-hand single card. (Fig. 1.) Actually, this is a combined movement; your left hand moves to the left as your right hand moves to the right.
But, for this, do not do that. As you move your right hand to the right at the end of the •1047'
"three" count, your right hand turns (outward) palm up and your left thumb peels the now top face-down card onto its two cards. (Fig. 3.) Immediately turn your right hand back to position (palm down) and place the last face-up joker out jogged onto the left-hand cards. This card is held in place with your left thumb (the outjogged face-up joker is on a face-down card).
Remove the outjogged, face-down, card with your right hand, keeping it face down, as your left hand turns palm down, turning over its block of cards. (Fig. 5.) Place the face-down right-hand card flush onto the face-down lefthand block. Turn your left hand back to normal (palm-up) position; a face-up joker shows on top. With your right hand, flip the packet face down onto your left palm.
6 Do an "underground" (last card to bottom) Elmsley Count. During the "twist & show" sequence, up to and including this last Elmsley Count, you've been saying, throughout, "See? No marks." Now, immediately after the last ("underground") Elmsley - deal the top face-down card to the table, flip it face up, as you say, "This card is not marked." Leave that face-up joker on the table.
Your right hand turns over, end-for-end (toward y o u ) , the entire "package." The outjogged card is now injogged and face down at the bottom of the packet. With your right hand, take that injogged card, turn it face up, and replace it on top, still injogged. You're in position to do the standard (Annemann) alignment move. Do it. This out jogs the second-fromtop face-down card as the lower two cards move down to align with and under the face-up joker. (See Fig. 4.)
Greg Eanes SCAT Mike Bornstein and some more terrific
Spread the in-hand three cards to expose a face-up joker between two face-down cards. Remove the face-up joker and as you move it toward the table, say, "This card is not marked!" Turn it face down to reveal, for the first time, not only a blue back, but the printed phrase, "NOT MARKED!" Finally, flip face up the two remaining in-hand cards to show two blanks, as you say, "And these are definitely not marked!" (See Fig. 6.) - • Afterthoughts: Twist And Show was (is) a terrific packet effect. So is this. It is, of course, presented in a tongue-in-cheek, slightly humorous, manner. That's up to you. It's a startler, in any case. But - the best (the 3rd of the series) is yet to come! The third of the series is called The Outsider, and it's a stunner. I'll run it soon.
Miniature
Mindreading
magic from Gerald Deutsch, Jeff Altman,
PUBLISHED, WRITTEN, EDITED:
Harry
Larry
Miracle
Taylor,
ILLUSTRATIONS:
and others
Robert E. Lorayne •••1048"'
Charles M. Hudson
Enlarged Hartman
|erry Hartman's Order Restored (Apocalypse; January, 1984) received quite a response, as well it should - it's a terrific idea. I knew that it would elicit variations. Of those I've received, Charles' is by far the best. This is for the "faroniks;" perfect straddle faros with a 53-card deck (joker included) are required. What Charles wanted to do first was to make Jerry's impromptu method (using ten cards) work with a 53-card deck. That's easy enough; if you're interested, you can work it out. (In Order Restored, there's a very strong gaffed-card method plus the impromptu method.)
(starting with the 9D) - into the spread. They are inserted at 3-card intervals except for the cards that follow the 3D, AD, and 5D (the three lower odd diamonds). These are inserted two cards away. To clear this up: The 9D is inserted 4th from top. Eye count so that you can, without hesitation, insert the next card (3D) 4th from the 9D (3 cards between the two). It's actually 8th from top. But, the next card (10D) is inserted so that there are 2 cards between it and the 3D. Continue this way. Check point: When you insert the last diamond (6D), there are 4 cards left beneath it. And, all diamond cards have 3 face-down cards between them except the 3-10, A-8 and 5-Q, which have 2 cards between them.
The next thing Charles wanted to do was to work it out for all 13 (not just 10) cards of a suit. He came up with a few variations. I like the last one, using a full-deck stack, best. But, I'll lead you up to that - let's take them a step at a time, then you can decide which you prefer. No illustrations are necessary. If you are advanced enough to do this kind of card stuff, then you'll know what I'm talking about.
Gather the spread, push the diamond cards flush, and square the deck. Let a spectator complete cut. Do a perfect straddle faro with the face-up (except the diamonds) deck. End with the standard "waterfall" coalescing of the cards. Do another straddle faro, just like the first. Then, do a third straddle faro. After the "waterfall," you're in position to immediately do a hand-to-hand spread, calling attention to the still face-down diamond cards.
Remember; you're working with a 53-card deck. Ask your spectator to tell you his favorite suit. Assume he says, "diamonds." Openly remove all the diamonds from the shuffled deck. As you do, remember the bottom card of the deck: that will serve as a key card, later. Arrange the diamonds in ace to king order, from face to back (ace at bottom). Do that, ostensibly, to show that all the diamonds are "present and accounted for. "
As you spread, look for your key card (the original bottom card); get a break above it as you square. Either do a Turnover Pass at the break as you turn the deck face down, or double cut to the break and then turn the deck face down. (Charles prefers the Turnover Pass.) Do a face-down table ribbon spread - and the face-up diamond cards are back in ace-to-king order! (See J. K. Hartman's Order Restored for patter, presentation, etc.)
Flip the squared packet face down and mix the cards. Really do three reverse (up/down mixings) faros, as follows: 1) A regular (single card at a time) reverse faro - out jog the 2nd card, the 4th, the 6th, etc. At the end, strip out the outer packet and place it under the inner packet. 2) Same type of reverse faro, but - spread off two cards and out jog one (the 3rd card), spread off two (the "twos" are injogged) and outjog one, etc. The final (injogged) card is a single card. Again, the outer packet is placed under the inner packet. 3) Begin by outjogging the first (top) card, injog the next, outjog the 3rd, and so on - until you have alternated nine cards. The remaining fourcard packet is injogged and a momentary break (or step) held above it. Strip out the 5 outjogged cards and place them on top of the inner packet. Finally, cut at your break (you're cutting the 4-card packet from bottom to top). This entire reverse-faro (mixing) sequence is really a lot easier and smoother than it reads. (If you don't want to keep a break as you injog the 4-card packet, don't. Then, just spread, square, get the break - and cut.) Flip the packet face up and spread the cards to show their "mixed" order. From top (rear) to face - 9-3-10-4-k-7-A-8-2-J-5-Q-6. Square the packet, flip it face down, and table it. (You can do a Charlier or Monge Shuffle, if you like, then cut the 6-spot to the face.) Pick up the deck proper and do a wide face-down table ribbon spread (it can also be done with an "in-hands" spread or with a pressure fan). and
Now, insert the 13 diamond cards, face up one at a time - from top of packet down
Continuing with Charles' thinking: If you examine the deck after the above, you'll see that the diamonds are not only in numerical order, but also in repetitive positional order from top down. I.e., xxxADxx2Dxxx3Dxx4D, etc. There are three face-down cards preceding the odd diamonds and two face-down cards preceding the even diamonds! This "unexpected bonus" led Charles to the next variation. It's exactly as above except for two things. The diamonds are inserted face down; this makes the faros much easier. And, the joker is prepared by pressing a coin or a stylus on its face - to raise a "bump" on its back. (Or, nail nick it on a long side.) When removing the diamonds at the start, cut the joker to the bottom. After the three straddle faros, no spread is needed to find the key card - simply cut to bring the "bumped" or nicked joker to the bottom. What's different is the ending. Deal the cards singly and face down onto the table, counting (silently or aloud - up to you) "one, two, three - ace," and turn the 4th card (on "ace") face up to the side. Then, "one, two two," and turn up the 2D. Place it, face up and overlapped, onto the AD. "One, two, three three,"' and turn up the 3D. "One, two - four" turn up the 4D. And so on to the KD - alternating between counts of "1,2,3" and "1,2" - the former for odd, and the latter for even, dia-
•1049-
mond cards!
Now, Che last variation, which I like best although it involves a stacked deck. I like it best because the ending is a stunner. It's made possible by the fact that you're dealing with a completely controlled deck from start to finish. This routine takes advantage of that fact. Set-Up: Remove all the diamonds. Set the remaining 40 cards (don't forget the "bumped" joker) from face to rear, as follows: Joker, 7S, KS, 6H, 4C, IOC, 4S, 2M, 8H, 6C, QC, AS, 4H, 10H, 3C, 6S, 8S, AH, QH, 5C, 3S, 10S, 3H, AC, 7C, KC, QS, 5H, JH, 9C, 5S, 9S, 7H, KH, JC, 2S, JS, 9H, 2C, 8C. Arrange the diamonds ace to king from face, and place on top of the stack. The KD is the top card, "bumped" joker is the bottom card.
After revealing and placing the face-up KD, your right hand removes the bottom card of the remaining in-hand cards (the joker) and holds it as your left hand drops all the others face down onto the face-down deck proper. It seems as if the effect is over. But - table ribbon spread the face-down deck neatly, and do the domino turnover using the joker to turn the spread in the standard turnover flourish (the joker's long edge rides along the crest of the turning spread). It is seen that each of the three remaining suits have also magically "gathered" in numerical order - clubs, hearts, spades!
To Perform: Deal the 13 diamonds into a face-up (in order) tabled packet. Say that you placed them in order before just to make sure they were all there; but you'll mix them up in a moment. (At this point, I'd say, "...After I mix these." And I'd false shuffle and/or cut the deck proper.) Turn the squared diamond packet face down and do the three reverse faros (up/down shuffles). Face up spread to show the "mixed," random, order. Then insert the face-down diamonds into the deck as explained. (9D first, 6D last.) Gather, square, and let a spectator cut. Do the three straddle faros. Cut the "bumped" joker to the bottom.
David Ben
The first climax is the "1-2-3" and "1-2" counts to turn up the diamonds - in numerical order, as per the preceding variation. Place them in a face-up right-to-left spread as you reveal them. The face-down cards are dealt into a tabled-to-your-left packet.
Afterthoughts: Well; all the versions are excellent. As I~ said, I prefer the last one. For that, with a slight variation of the stack (which is easy to work out) you could insert the diamonds face up. The ending would then be a face-down ribbon spread to reveal them in order. You'd remove the diamonds, then turnover the remaining cards to show that they're all in order, too. I prefer it as explained because it is much easier to do the faros with all the cards face down. (Charles friend.)
Hudson
died
last
year. I lost a
How Sweet It Is!
could have called this "Another Packet Trick" because it's central item is a granulated sugar packet - the kind found in a bowl on restaurant tables. David's inspiration is Ross Bertram's Bill In Cigarette (Magic And Methods); problem is, David doesn't smoke. So, the sugar packet method evolved. It's a good "impromptu" seeming close-up effect, and excellent for table hoppers. In effect, a borrowed and signed bill is destroyed. It is found, fully restored, in a sealed sugar packet! What you'll need is a thumbtip, a flash bill, a magic marker, a cigarette lighter and, of course, a sugar packet must be handy. You also have to be able to do a bill switch. I've got to assume that you can switch a bill. There have been a few methods taught in Apocalypse see Afterthoughts. The thumbtip and the cigarette lighter are in your right outside jacket pocket. The folded (ready to be switched in) flash bill is in another easy-to-get-into pocket with the magic marker - set it to your own convenience. The sugar packets are, presumably, on the table. To Perform: You can use the fairly standard ploy of talking about the difficulty of telling whether or not a bill is counterfeit. You'll demonstrate a new way to solve the problem if someone will lend you a low-denomination bill. Let the spectator sign it, and tell him
not to worry - "If anything happens to it I'll give you something of equal value." Take back the pen and return it to your pocket, finger palming the flash bill at the same time. Fold the signed bill... etc ... and switch it for the flash bill. The real bill should end up finger palmed in your right hand. (Obviously, you can switch right/left according to your own handling/presentation.) Ordinarily, a switched bill is folded into eighths. Since this bill has to be loaded into, then shaken out of, your thumbtip, another fold is necessary. Not really a problem.
Your right hand moves into your right pocket in order to get the cigarette lighter. The flash bill, of course, is at your left fingertips. As your right hand enters the pocket, put the extra fold into the hidden bill - just push with your thumb, your fingers help. (Fig. 1; the bill is in sixteenths.) Load it into the thumbtip, then bring out the lighter. (You can, if you prefer, use a switch that ends with the bill already in sixteenths.) •1050-
Your patter, which can be started while your right hand is in your pocket - if you need the time - is that "there's a way to tell if a bill is counterfeit by holding it over a concentrated source of energy for no more than ten seconds." Standard type of presentation - you are going to "accidentally" burn his bill.
you can shake the sugar off your palm into an ashtray. Then, as he's checking the bill, and all attention is on it, it's a simple matter to slip the thumbtip back onto your right thumb as you crumple the empty sugar packet. Drop the crumpled packet - with a slight flourish - into the ashtray.
You've left the loaded thumbtip in your pocket; you've brought out the cigarette lighter, "flicked" it, and you're holding the lefthand flash bill over it. Look at your watch (on your left wrist) "accidentally" letting the bill touch the flame. It goes up in a flash, of course. Use whichever attitude you prefer, here... either - "Well, that was a real one" or, acting annoyed at yourself for your clumsiness, "I guess that's it for today. Hope you enjoyed the show." I have to leave the attitude to you. David acts as if he's really leaving to go to another table. But, then - "I did promise to give you something of equal value if something happened to your bill, didn't I? Tell you what... take this sugar packet; it has our logo on it - it has to be worth at least a dollar."
You can "dump" the thumbtip in any number of ways. David leaves it on his right thumb as he takes the bill from the spectator in order to display it. He asks, "Is this the bill you gave me?" Old gag now - when he says "yes," say "thanks," and start to put it into your pocket. Make sure your thumb enters the pocket first dump the thumbtip and immediately come out of the pocket, handing the bill to the spectator "Only kidding."
As you talk, the cigarette lighter goes back into your pocket and that's when you slip your thumb into the loaded thumbtip. The sequence actually is: Your apparently empty right hand comes out of your pocket as you look around (desperately?) for something to give your spectator to compensate for his destroyed bill. You spot the sugar packets; pick up one of them with your right hand - the thumbtip behind the packet, of course, fingers at front. (Fig. 2.) Hand it to the spectator with your right hand, delivering the above patter. Play this however you like. You can get laughs by "seriously" pointing out the value and virtue of the packet of sugar. Finally, take it back with your left hand. Give it a shake or two, as you would ordinarily do, to loosen the sugar and to let it settle to the lower end of the envelope. Take it with your right hand, as before your right thumbtip is hidden behind it. With your left fingers, neatly tear off the very edge of the packet's outer end. (See Fig. 3.) Transfer the open packet to your left hand, your left thumb taking the thumbtip off your right thumb. What David does here is to work the loaded bill part (or half) way out of the thumbtip so that it will fall out easily when he wants it to. This is easy enough to do with the pad of your right thumbtip as it moves out. And the sugar packet affords plenty of cover. (See Fig. 4.)
You can use the line - "Money...how sweet it is!" as the closing line, if you like. (It's Ross Bertram's suggestion.) Afterthoughts: Some of David's thoughts: It's important that your spectators believe that the bill is accidentally destroyed. That's why it's more plausible to use a low-denomination bill. David feels that your spectators know you're pretty competent because of your previous effects. It's unlikely that you'd be careless enough to destroy a large-denomination bill - a low denomination "works." It is not easy to make it look as if a bill is "accidentally" destroyed. David uses the method in the text (I believe it's Terry Seabrooke's), or Bob Fitch's method - No-Switch Bill Go (Apocalypse; January, 1982). Bob's entire method would fit perfectly here; David uses a borrowed cigarette. If there's any problem getting the folded bill to fall out of the thumbtip as you pour out the sugar, use the natural action of tappint the packet against your right palm. The exposed (to you) part of the bill will also hit your palm, and cause it to bounce out of the thumbtip.
With proper patter and timing, tilt the opening of the sugar packet toward your obviously empty right palm and shake out the sugar. The "jiggling," shaking, action causes the folded bill to fall completely out of the thumbtip. It visibly falls onto your right palm - with and among the sugar grains - and looks exactly as if it's coming from inside the packet! (See Fig. 5.)
Finally, David feels that "the routine is structured logically but still loosely enough for the performer to select the presentational approach that he believes he can utilize convincingly." I agree; which is why I've left most of the patter and presentation to you. Performed properly - this is the kind of magic that will be remembered.
Let your spectator take the folded bill from your right palm. Ask him to unfold it and check his signature. As soon as he takes it,
(Watch for Sol Stone's Sweet And Low. A similar idea - impromptu methods. I'll run it as soon as I can. )
••««>»«»•
1051'
Ian Baxter
So Simple—So Good explain. When you're stopped, openly and deliberately separate the deck at the stop point. Your hands do their slight movements simultaneously. Your left hand swivels down to the left, bringing its portion to face-down, parallel-to-floor position - as your right hand turns back down, to your right (similar to turning the page of a book to the right) bringing its portion to face-up position. (Fig. 5; stop action, performer's view.)
lynn Searles' force, So Simple, appeared in The Jinx way back in 1936. It has become a fairly standard card force, but seems to have lost its popularity in recent years. Ian says, "Perhaps the turnover of the deck - revealing a new face card to that just exposed - gives rise to a certain loss of deception, making the origin of the card to be forced 'traceable' by an astute spectator." So - Ian has come up with a different, and better, method. The original is simplicity itself. The top card is the card to be forced. Left-thumb riffle down, asking to be stopped. When you are, turn the top half, up to the stop point, face up onto the bottom half. Then, as you move to the table to ribbon spread the deck, turn over the deck. The first face-down card is the force card. You can see that the top faceup card changes from the time you turn over the top half to when the deck is spread. Okay; Ian's handling eliminates the turnover of the deck and the table ribbon spread. It's a simple, quick, thing but it will take some explaining. It'll also take some space since I want to discuss a few ways to reverse a card to position, as you'll see, plus some of my own thoughts on handling/presentation (in the Afterthoughts). The position you have to get to for the force is - the deck face up and one card (the force card) face down at bottom (rear). There are many ways to get to that position. Ian uses a method to which I'm partial, which I've described in a couple of my books, and which is also in Expert Card Technique; it's called Facing The Bottom Card. (I'll mention other ways in the Afterthoughts.) Briefly: The card you will force is on bottom. It is reversed to position during one casual overhand shuffle. Your right hand holds the deck from above; your thumb and fingers are a bit more to the left of the deck than normally. To start the shuffle, your hands move toward each other; your left hand is palm up. The pads of your left fingertips contact the bottom card and push it to the right as your right hand begins its turn to the right. (Fig. 1 is a stopaction view.) The bottom card automatically (just about) moves to behind the deck as your right hand turns a bit more to the right and shuffles onto the (now) reversed card. (See Fig. 2.) And, I always do one "slip" overhand shuffle (left hand takes top and bottom card as first step) after the first one. At the end of the overhand shuffle, you're just about in "force" position. The face of the deck is directly toward your spectator. The force card is face toward your right palm. Your left hand squares the deck and rests on the face of the deck, left thumbtip at the outer (right) corner, ready to riffle outward. Start to do that - start to thumb riffle outward, as you ask your spectator to say "stop." Time it so that you're stopped somewhere near center. (Fig. 3; rear view. Fig. 4; spectator's view.) Now, the crucial "move" which, as I have said, is easy - but may be difficult for me to
r There's no perceptible pause here. Smoothly continuing the movement(s), your right hand slides its face-up portion to the left, flush onto the left-hand portion. (Fig. 6 shows the halves almost flush.) That's it - it's done. No deck turnover necessary. At this moment, the halves are back to back - as they should be. Hand to hand spread the (top) face-up cards as you point out how well-mixed the cards are; "You could have stopped at any of these." When you reach the first face-down card - to all appearances, the stopped-at card - push it forward for your spectator to take. It's the force card, of course! Afterthoughts: Try this a few times; get the "teel" of it - it's good. As I've told you, the method Ian uses to reverse the force card to position is what I use most often. There are
•1052.
with my left fingers, I flip all the remaining face-down cards face up - and continue spreading. (Fig. 7.) Either let the spectator remove the face-down card now, or place the entire spread, as is, onto the table. Then, let him remove his face-down card.
other ways, of course. One of those ways is a standard method. The force card is on top. Do a double turnover, leaving the double face up, as you say, "It would be too easy for me if you took the top card..." Holding the deck in lefthand dealing position, turn that hand palm down (deck face u p ) . With your right fingers slide out the (now) rear or bottom card - the one you displayed at the double turnover - turn it face up and point to the top face-up card with it - "...or the bottom card." Leave the single right-hand card on the face of the deck, and you're in position.
This would make an interesting BrainwaveUltra Mental-sympathetic reversal type of effect. You'd have one deck in your pocket with, say, the QC reversed - that QC can be either of the same deck or of a different back design. Using So Simple-So Good, force the QC from the deck you're using. After tabling the face-up spread with the face-down force card at center, remove the pocketed deck and spread it face up under the first spread, to show the card you reversed "before I came here this evening." They match.
The above is explained in detail - as The Double-Lift Reverse - in my book, THE MAGIC BOOK. Another excellent way would be to use the Christ Twist with the deck face up. The Christ Twist is explained in detail in BEST OF FRIENDS, VOLUME I. And - I use the following handling for the "display" of the force card. I spread the faceup cards from left to right hand, as explained. When I come to the first face-down card, I leave it face down, of course, and outjog it. Then,
Doug Edwards
And, finally, you can force four cards of the same value. Assume the deck is face up and the four aces are face down at the rear. (The Braue Secret Reversal - see BEST OF FRIENDS, VOLUME I - gets you there.) Do the force, pushing out and tabling the first face-down card. As you do, manage to get a momentary left little fingertip break beneath the (now) top three face-down cards. These are stolen to beneath the face-up half as the lower face-down half is flipped face up to the top. (It's an instant, imperceptible, maneuver.) You're back in force position. Repeat, "breaking" two cards as you table the "stopped-at" card. Repeat, "breaking" one card. Do the force once more, ending with the spread I suggested. Let a spectator take the face-down card, turn it (an ace) face up, and tap the three tabled cards. Turn them face up to show that they all match!
Past Bending
Doug picked up a fork, displayed it, and showed how solid it was by banging it on the table. Then he held it at its "neck" (where the stem meets the "working part") and asked one of his spectators to hold an end with each hand. As he pattered about "spoon bending," he moved his hand, still holding at the neck with thumbtip and first fingertip, gently up and down. "Does it feel like it's bending? It looks like it's bending" - and so on. It did look as if it was bending at the neck, and then - "Oh, oh; I think I went too far!" And the "head" of the fork was seen to be separated from the stem! (See Fig. 1.)
the "head" back and forth once, twice, or more; that's where the "feel" comes in. It's done as you'd do if you wanted to break off that head. But don't break it off.
It's a bit of a silly thing which, nevertheless, fooled the onlookers. It can be done only under certain circumstances. The spoon (or fork, which is what Doug used when he originally did it for me; either is fine) must be a cheap one, of course, and you have to be at a table upon which you can bang it. Obviously, you don't want to do that on a glass or antique (or any decent) table. When ready to perform, pick up that spoon or fork as if it could be any spoon or fork. Bang it on the table to show how solid it is! This is probably what fooled all the onlookers. Doug did the acting of searching for any spoon or fork very well - "Oh, here's one."
There is a bit of preparation involved. I'll give you the basic idea, then you'll have to "play with it" to get the feel of how much preparation is necessary, etc. The utensil must be scored before you present the thing. Doug wraps it in a napkin (or any paper) and bends •1053-
And, the table banging; that softens the scored area even more. Hold the utensil about parallel to the tabletop when you bang it. (See Fig. 2.) "Feel" is important here, too. What you want to do is to almost separate the head from the stem with the banging! If you really do separate them - if the head flies off - you have loused up the effect. You'd better have an "out" prepared; a patter line for just that occurrence .
Then, holding and covering the scored fabout to separate) area between the right thumbtip and forefingertip, ask your spectator to hold an end with each hand. (See Fig. 3.) Start your gentle up/down movements and your "bending" patter. It's all acting and buildup from here on in. Keep doing the movement - "Does it look like it's bending?" (it does, because it is!) - until you feel the head break completely off the stem. Don't show that yet. Your thumbtip and forefingertip hold the two parts together as you continue your "bending" patter. Then, slowly let the two parts separate. Your spectator is left holding them as you remove your hand. (Look at Figure 1 again.) Make an appropriate (closing) remark, of course. Afterthoughts: Not much more I can tell you about this; you'll just have to try it a few times. It's a good thing to know!
Steve Rogers
Flip Out
It appears as if a card changes in mid-air when this is properly done. Or, it can be a flourishy revelation of a card - up to you. Control a card to second from top. Table the face-down deck. Whether to have a short end or a long side toward you is up to you. It's according to which way you want the selected card to fly, as you'll see in a moment. Then - turn the top card face up on top of the deck with a flourish, as if you've found the correct card. Leave it face up on top. When it's denied, act surprised/disappointed/embarrassed - whichever attitude fits your presentation. Then, as you either say "This isn't your card!?" or ask "What is your card?" - do the following:
the tabled deck any more than is absolutely necessary, do the standard "snap" turnover of the face-up card. This is difficult to explain in print; I have to assume that you know what I mean. Basically: From the position shown in Figure 2 - and it happens instantly during performance - your fingers start to bend the sides of the two cards upward as your foref ingertip moves to the left in order to grasp the top card (only) between it and your thumbtip. (See Fig. 3. A spectator's view is best for this, although your spectator won't see it; it all happens too quickly.) Your second fingertip is the only finger "holding" at the right long side at this instant.
Your right hand grasps the top, face-up, card from above, and at its sides. Raise it fractionally at the thumb side. That's the left side (if a short end is toward y o u ) , the right side remains on the deck. (See Fig. 1.)
As you do this, the very tip of your right thumb picks up the next card. How high to raise the top card, and the distance to keep between it and the second (selected) card is open to experimentation. About a quarter of an inch (or less) between the two cards is about right. (Take a look at Fig. 2. ) Then, without raising the two cards up off
Release with your second fingertip as your forefingertip grasps the top card (the face-up and "wrong" card) against your thumbtip and as your right hand turns palm up. This is the "snap" turnover; the top card "snaps" face down. But, under these circumstances, the second card shoots or "flips" out - face up. It will flip to your left, this example. (See Fig. 4.) That's the move. Play with it. You'll see that you'll be able to catch the selected card with your left hand - or, trap it against the
•1054'
spectator. Try it — see which way you prefer. Try it in any case; it's a pretty thing.
table with your left hand. Afterthoughts: The "move," of course, is done so that it tits your patter line, whatever it may be - the timing must be right. If you keep a long side of the deck toward you (the other long side toward your spectator) and do exactly the same thing (your right thumb will have to "twist" toward you as you start), the selected card will "shoot" directly toward your
Ben Harris
Masquerade
|his is a unique piece of magic, to say the least. Presented properly, it's strong. You will need an item called Card Coin (Sterling Creations). This is a half dollar with a playing card symbol (4H, say) cleanly cut through its center. You'll also need a small piece of flash paper, a permanent black oil marker and a deck of cards. To prepare: Tear the piece of flash paper -into a small non-uniform shape. It has to be large enough to cover the cutout on your half dollar but not so large that it reaches to the - edges of the coin. With the black marker, thor^ oughly blacken the paper - really get it total, ly black. Then, paste it lightly onto the half dollar, completely covering the card cutout. (Fig. 1 shows the paper itself, then as it's affixed to the coin.) Keep the prepared coin in a convenient pocket; a regular marking pen is in the same pocket.
squiggle a dark "blotch" onto the coin that loosely resembles the shape of the flash paper that's on the prepared coin! Table the pen with your right hand; blow on the examined coin - to "dry the ink." Hold the coin at your right fingertips as you blow. At this point, switch coins. Ben simply tosses from right to left hand. Obviously, the regular coin is retained in your right hand as you let the prepared coin fly into your left hand. You can, of course, use the Utility Coin Switch (Shuttle Pass) - apparently tossing the coin from left to right hand. Either way, what you have to work out is that the black piece of flash paper is upward. Because - the instant the switch is done, your fingers (of the hand holding the prepared coin) close slightly over that coin, gently shading the prepared surface. In other words, let part of the blackened paper flash. That now masquerades as the inked surface of the examined coin! The hand holding the legitimate coin (according to the switch you've used) pockets the pen and the examined coin as you ask for the loan of a lighted cigarette. (If a cigarette isn't available, borrow a match or lighter.) Hold the lighted end of the cigarette in front of the card coin. You can fully expose the card coin now because the lighted end of the cigarette in front of it (between the flash paper and your audience) camouflages things quite nicely. (You may want to do some experimenting with distance.)
To perform: Simple and basic handling, but the effect achieved can be startling. Force the card that matches your coin cutout - let's assume it's the 4H. Ask your spectator to look at it, then to place it face down onto the table. If you think anyone has a half dollar, ask to borrow it. Unfortunately, not many laymen carry half dollars. So you'll probably have to toss one onto the table for examination. As it is being examined, reach into your pocket (with your right hand) for the marker pen, finger palming the gaffed half dollar at the same time. Pick up the examined (or borrowed) coin and mark it with the marker. What you do is to
is published every month All checks are to be made payable
Buildup as strongly as you like - taking as much time as you feel is apropos. The point of the buildup is that your spectator must concentrate on his card as strongly as he possibly can. As he concentrates, touch the lighted end of the cigarette to the flash paper. It will burn away more slowly than usual. The slower burning makes it look good. The card cutout on the half dollar appears slowly, and magically. Afterthoughts: It's eerie looking — the ink seems to eat into the coin as it burns. The reason for the slower burning, I guess, is that the metal absorbs some of the heat and slows down the combustion, so does the fact that the paper is ink saturated.
by Harry Lorayne, at: 62 Jane St., New York, N. Y. 1001U. to Harry Lorayne, and mailed to him at that address.
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Out 1b Lunch
continued from page 1008...
|hen I received my honorable discharge from the army (World War Two, that i s ) , and before I went to work as a civil service employee and met Renee, I put in some time as a door-todoor magazine salesman. The way that worked: I went out with a "crew manager." Perhaps six or seven people were in a "crew." Each worked on commission, a percentage of each subscription sold. The crew manager received an "override" a percentage of the subscriptions he sold, but also a small percentage of each subscription sold by any of his crew members.
there were shortages of many things.) So, they w"ere mailing them free of charge to anyone who read them! "All you have to do is pay the postage, which is only about 8 or 9 cents a week for each magazine."
The way the subscriptions were sold was a bit sneaky. I had a little bit to do with it mostly the "opening" - it was almost the kind of misdirection used in magic. Each guy wore a "ruptured duck" lapel pin. That was the pin that showed you were a veteran. Not all the people who wore them were veterans, of course. This was 1943-1944; the war raged on. We'd be driven to a particular suburban area. Each man had a large stack of magazines in his hands, all different ones, sets of three. Now, here's the opening: I'd go into an apartment building, go to the top floor (I'd work my way down), and ring the bell of all (say) six apartments on that floor. If a woman asked, "Who is it?" I'd simply yell, "Free magazines!" In those days, people weren't quite as afraid to open their doors as they are today. Okay; doors would open - mostly women, the men were at work. There was a specific timing involved. I'd hand each person a magazine. If a lady said that she didn't read that magazine, I'd take it back, saying that I'd rather give it to someone who did read it. If the lady took it - as she was closing her door, I'd say, "Do you read those?" When she said she did, I'd say, "Here, take some more; these are getting awfully heavy." (That's why the large stack.) And I'd give her two different magazines - perhaps Photoplay, True Confessions, and Parents Magazine. Now, she was pretty well "hooked." These were new issues, not yet on the newsstands. Again, as she closed her door, happy with three free magazines, I'd say, "Would you like to receive those three magazines every month? Free?" If the answer was a definite "no," I would take back the three, saying that perhaps her neighbor would. But, by this time, I rarely got a "no." Usually, it was either a "sure," or "Get them free? How?" The sales pitch was basically that - the publishers made their money not from the sale of the magazines, but from the advertisers. (Always a little bit of truth in the "patter," as in magic.) In order to get that advertising money, the publishers had to guarantee that a certain minimum number of their magazines got into the hands of the consumer. But because of the gasoline and driver shortage (remember, the war was still on) they couldn't deliver enough copies to the newsstands. (Seemed reasonable;
That last part was the gimmick, which was casually glossed over. These were monthly magazines, but the line was "8 or 9 cents a week." The continuation was - "You can give the 27<£ to your local newspaper boy, the one who delivers the (and I'd name a local paper)." Good touch that; it made it all more "homey." Once she agreed, and after some more explanation ("time" misdirection) and choice of three magazines "Why bother you with the newspaper boy every week. We'll just send you a bill each month. Five times 24£ - we'll bill you for $1.35 each month." And, in those days, that was the subscription price. Yes, it was cheaper than buying the magazines at a newsstand, but she signed for a minimum of two years. I'd get 50<£ in front as "good faith" money, which would be deducted from the final bill. She kept the three magazines. I kept the 50<£ ; it was part of the commission.
My "crew manager" was a guy named Joe Cuff. I'll never forget him; he was a character. We always looked for excuses not to work. For example, we were all having lunch one day when he said to me, "I'll bet you I can drink more of these glasses (juice glasses) of tomato juice than you can drink cups of coffee." I said, "You're on." (I was very young!) The loser was to pay the bill - for the juice and coffee. Well, I won. By the 15th or 18th glass of tomato juice, Joe's face was the color of a ripe tomato. I started drinking my coffee black with no sugar. When he finally quit (I think atthe 25th or 26th glass of tomato juice) and paid the bill, he was sick to his stomach, and when I went out into the fresh air, I was as drunk as I'd ever been - from all the caffeine! No point; just silliness. One day, I kept staring at Joe's face. I thought I saw that only the left side of his face and neck were shaven. I kept staring; I'd never seen anything like that before (nor have I seen anything like it since). He finally asked me what I was staring at. So - I told him that it looked as if only half his face was shaven. He said, "Yes, that's right." He said it off-handedly, as if it was quite a normal thing. I, of course, couldn't resist. "Why?" asked I. "Well," said he, "I thought I had a date with my girl tonight. As I was shaving this morning, I realized that the date is for tomorrow night - so, I stopped shaving!" Again, all off-handedly. He saw nothing illogical in it. Why finish shaving if your date is for tomorrow? And I thought only magicians were crazy!
Remember - if you photocopy this magazine, you lessen its worth to YOU!
=1056=
Lofayne's $3.50
VOL. 8 NO. 5
MAY, 1985
pocalypse ISSUE NO. 89
速 COPYRIGHT 1985 by H. Lorayne, Inc.
Greg Eanes
SCAT
The title stands for Super Coins Across Table. Greg's inspiration was Tom Craven's Open Coins Across (Apocalypse; November, 1982). And his objective was to achieve the "openness" of Tom's routine, but the techniques, the handling, are entirely different. A stretched (half dollar) shell is used, but instead of using a one-ahead principle Greg uses a "one-behind" principle. (See Mike Gallo's New Wave Coins Across; Mike Ammar's Encore II.) The basic effect: Four coins are displayed as you talk about the hand being quicker than the eye. One coin is moved to the right; the other three remain at left. Your open hands rub over the coins at left and at right; your hands are raised to show that one coin has magically traveled from left to right. After a "mock" explanation the two remaining (at the left) coins travel, one by.one, from under your left hand to under your right hand.
You'll need three half dollars and a halfdollar shell. In Greg's opinion (English pennies and) an English penny shell is easier to handle for the "Front Finger Clip" (as you'll see). Once during the routine the shell must be lifted in this clip directly from your close-up pad. I don't find it a problem if I'm working on a soft pad. I have to leave this to you. I will include "pieces" of Greg's patter just so you have an idea of his "theme." Fill in your own, of course. The routine begins with the three coins stacked, and held loosely, in your left hand the shell is nested over the lowermost coin. Patter: "I know you've all heard the old saying that the hand is quicker than the eye. I'd like to show you an example of that using four coins and my ten faithful assistants." As you end the remark table and display the coins in a vertical row. This is done as if "jumping" in Checkers, but move toward yourself First, release the nested coin from the shell, then move your left hand toward you - south of the first coin - to table the shell. Then move back twice more, tabling the next two coins. Show both empty hands, as you say, "...my ten faithful assistants." Your hands are seen to be empty; no remark to that effect is necessary.
Front Finger Clip the shell between the sides of your forefingertip and your little fingertip. (See Fig. 2.) Your audience has seen one coin to your right and believes that there are three to your left. Say, "All that's necessary is to rub the coins a bit." The "rub": Both hands move forward and backward, perhaps slightly circular, in a short rubbing motion. During the initial forward motion your right forefinger and little finger clip the shell off the coin. (Fig. 3 is a worm's eye view of the Front Finger Clip. It is similar to the Moritt Grip, except that the shell is closer to your fingertips. The exact position of the shell may differ for each hand size.) Obviously, both hands remain palm down. The shell is clipped during the first forward motion and deposited in front (north) of the coin. The rubbing motion of both hands continues for a moment. Then, slowly raise both hands to show that one coin has traveled from left to right; there are two coins at each side. Turn both hands palm to audience to show them empty - no "overproving," just the gesture. And say, "One coin has traveled! Pretty quick, eh?"
Now, reverse these actions to re-stack the four coins, moving from the nearest coin away from you. (Fig. 1.) The nested coin/shell is back at bottom of the stack, held at your left fingertips; those fingertips point downward, the coin stack is parallel to the tabletop.
With your right fingers, take the bottom coin and shell (as one coin, of course), display it, then table it (shell on top) to the right of your working surface. As you do this, say, "It's easy of course to just take one of these coins and move it over here to my right. But - to do it so 'quick' that your eye can't see it, is not so easy."
Now comes the "mock" explanation and demonstration of what just happened. This "sets" you for the continuation of the routine, of course, so follow along closely. "How would you like to see me do that in slow motion? Okay; let me put this coin back and I'll do it again, slowly. Watch." Here are the actions to match these words: When you say "...let me put this coin back..." your right hand appears to pick up one of the right coins. Really, your hand covers the shell and moves it back onto the regular coin. Your hand keeps moving back and then toward your left hand - as if still holding the coin. Your left hand is back over the two coins at left. (See Fig. 4.)
Your left hand tables its coins to your left; don't let it be seen that there are only two coins there. Open your hand flat over, or onto, them - spreading them vertically as you do. Show your right hand empty, then place it palm down over the coin/shell in position to
As your right hand, apparently holding the coin, approaches - your left hand tilts up its
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thumb side to allow your right fingertips to move beneath it as if placing the coin under it. Your right fingers move onto the rearmost of the two left-hand coins and slide it out so that part of it protrudes from the side of your left hand. Time this properly and it looks as if your right hand has placed its coin almost entirely beneath your left hand. Pivot down the left hand, moving that coin back beneath it.
Done properly, there's no reason for your spectators not to believe that there's one coin under your left hand. Your right hand - with its Classic-Palmed coin - now moves toward the right three coins. It comes to rest just behind them, fingers relaxed and slightly spread. (See Fig. 7.) What follows "locks in" the fact(?) that there are only three coins at the right. (Therefore, there "must" be one coin at left.) In appearance, your right hand slides the three coins, one at a time, slightly forward and to the right - re-aligning them into the vertical row. Relax your right hand to let the Classic-Palmed coin fall onto the pad behind the three coins. Immediately move your right hand forward to clip the shell in Front Finger Clip. (If you have a problem clipping the shell directly from the pad [rather than from a nested coin] your right thumbtip can assist.)
Re-position your right hand over its coin (and nested shell) in "pre-travel" position. When you say, "Watch," move your right hand openly and slowly to your left hand, reach under it, and slide the rearmost coin from beneath it - over to join the right-hand (shelled) coin. (Fig. 5.) Slowly place your right hand over the two right-hand coins and do the rubbing motion with both hands. Slowly raise your right hand. All this has been your "demonstration" of the "travel" in slow motion. It's done tongue-in-cheek, of course, and should get a laugh.
Move your hand slightly back, depositing the shell onto the coin behind it and immediately slide the (now) nested coin/shell forward and right. Slide the remaining two coins, one at a time, the same way - to beneath (south of) the first one, re-forming the row. (Fig. 8.) Cover the moving of the three coins with patter: "Remember now; three coins here, and one here at my left." Your palm-up right hand points to your left hand as you end the remark, letting that hand be seen to be empty.
"Well, I admit it isn't too impressive in slow motion. I'll do it with the next coin in my usual fast motion. I don't think you'll see it. But try." Cover the coins, etc., and start the "rub." Your right fingers Front Finger Clip the shell as before, moving it to the front of (north of) the two regular right-hand coins. Remember; both hands do the gentle rubbing, for consistency's sake. Raise both hands to show three coins at the right, one at the left. "Quick as a flash, right?! Well, I'll give you one more chance to catch me. I'll try to make this last coin join these three - again, in fast motion." The "work" is done here during an indicatory gesture - and, again, timed properly it looks good. When you say, "...this last coin," your right hand picks it (left coin) up and gets it into Classic Palm. Your right forefinger opens and points to the three right-hand coins. This action matches the words, "..join these three." The continuing action, as you finish your remark, is to apparently replace the picked-up coin to under your left hand. Pretend to be holding it at your right fingertips; you can even pretend to flash its edge at those fingertips as your hand moves. Your left hand is palm down at its position as your right hand reaches it. Tilt up the thumb side of your left hand as your right fingers "pretend place" the coin. Your left hand pivots back to flat position as your right hand withdraws - so no one can see that there's really no coin under it. (See Fig. 6.)
concluded on next
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page...
Replace your right hand over the three right coins; Front Finger Clip the shell. As before, do your rubbing motion with both hands. The shell is moved off its coin and deposited at the upper end of the row. "All I need to do is rub..." Slowly raise both hands to show all four coins at the right! "I guess this proves, once and for all, that the hand is quicker than the eye!"
produce. Put the coins away. Afterthoughts: At the beginning, for the original vertical laydown-display of the four coins - you can, of course, display by moving away from yourself instead of toward yourself. When you pick up the coins, move back toward yourself. I believe, as a matter of fact, that Greg does it that way. It really doesn't matter. It's a well thought out routine. Fit your own patter and presentation to it, get it working smoothly, and it elicits strong reaction from laymen.
Pause to let this register, then casually gather the coins; make sure not to allow the shell to clink against another coin - you don't want the "tinny," telltale, sound that that can
Mike Bornstein
Miniature Mindreading Miracle
|ome of Mike's ideas are slightly "far out," but good. Listen to this basic effect: Your spectator thinks of any card. You show the, say, KS and ask if that's the card he's thinking of. It isn't. The KS visibly changes to, say, the 9C. That isn't correct either. So, che 9C visibly and instantly changes to a miniature cardcase! This is opened and a miniature deck removed. One card is reversed in the miniature deck - it's the thought-of card!
the free 9C half. It fits just about perfectly. Then, glue the free KS half's back onto the complete miniature cardcase (keep the deck in it; easier to work with) - onto its top (AS design) surface. The case's half-moon cutout is downward and pointing away from you. (Fig. 2; top and bottom views of the completed gaff.)
The gaff is similar to the gaff used in Mike's Cased-Deck Penetration, which appeared in the March, 1985 issue of Apocalypse. That's why I'm running this routine in this issue. It will take less space to explain if you check back to that issue - the one before last.
The miniature Brainwave deck is in the miniature cardcase so that you know which way to remove it according to the thought-of card. The gaff is in a pocket or on your table, KS flap up, so that you can grasp it with your right hand to display the KS. To perform: Mike has the gaff in hand when he's about to start. He keeps that hand slightly behind him; the gaff is just out of sight. (Remember; the presentation here is tongue-incheek.) Ask your spectator to think of a card, any card. Bring out the gaff, KS surface directly toward audience. (Fig. 3 is an exposed side view, your view. The right thumb is moved back so that you can see where the miniature case lies and how it's hidden in your hand. Also I've let the gaff separate. In performance, the flap would be flush, of course, and your hand hides the miniature case.) Your spectators really can't tell whether you're holding one card, or a full deck.
Use two regular poker size cards; the gaff I have is made with the KS and 9C, so I'll use those for explanation purposes. The back colors and designs of these cards are immaterial; the backs aren't seen. You'll also need a complete miniature deck in case (it's about 1 3/4" by 2 V ) and one extra case. Mike uses the Bicycle miniature deck. And, the miniature deck is made into a Brainwave or Ultra Mental deck. I'm assuming you know how to do that - get out your roughing fluid! All right; form the normal-size KS and 9C into a "flap" card just as you prepared the KC and joker for Cased-Deck Penetration. There's a slight difference. For this, glue the folded halves back to back. That is, if the flap is folded one way the KS is seen; folded the other way, the 9C is seen. (See Fig. 1.)
Say, "Is this the card you're thinking of? The king of spades?" He'll say "no." (See Afterthoughts.) "How about the nine of clubs?!" As you say this, do a slight up/down movement with your right hand as your thumb folds down the flap to expose the 9C surface. This folddown is detailed in Cased-Deck Penetration. Check it out. Your right thumb, of course, has to move up again to hold the top of the 9C in place.
Keep the KS side to your left, as in the figure. Cut off the upper surface of the extra miniature cardcase, not the half-moon cutout surface. (With a Bicycle miniature, that would be the logo surface - an AS design on it. ) Glue this, AS design facing you, onto the back of
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flip it over, if necessary; it won't be noticed.
Again, your spectator says "no." As you say, "Well, I have another 'small' trick for you," the 9C instantly changes to the miniature cardcase, like this: Turn your hand (downward) bringing its back toward your audience. As your hand turns, your thumb bends inward closing the remaining 9C flap against the miniature case it's just about automatic - and quick.
End as you ordinarily would with a Brainwave or Ultra Mental deck. The thought-of card is the only one reversed, etc. Afterthoughts: "A bit far out" - but good. The odds are against it, of course, but it's conceivable that your spectator is thinking of the KS. If he says "yes," say "Fine; think of another card!" And finish the routine. When you change the KS to the 9C, and ask if that's his card - and he says "yes" again (!) - quit; no way to top that!
Immediately bring your hands toward each other - your right hand is back up - as your right fingers move off the case, to expose it. (Fig. 4.) Turn your right hand and the case to flash the other side of the case - all looks perfect. Turn back - case flap side up - and open the flap.
Commercial and mfg. rights reserved by Mike Bornstein and Apocalypse. It's interesting that at about the same time that Mike showed this to me I received a letter from Ray Mertz with another miniaturedeck Brainwave idea. He tells me that it plays quite well for him. It's easy to do. Make up a miniature Brainwave deck; it's in its case and in a right-side pocket. Give a spectator an imaginary little deck - stress "little." Do the usual pantomime - or make him do it. He takes the imaginary deck out of the imaginary cardcase, hands that invisible cardcase to another person to hold, shuffles the deck, and so on. Then instruct him to remove any card and reverse it in the imaginary deck. Say that you will turn around so that you can't see his card. Do so, casually placing your hands into your pockets. Palm the cased miniature deck in your right hand. Ask your spectator to place his imaginary deck back into its cardcase. Turn around and hold out your left hand. With your right forefinger, point to your left hand as you ask him to put the invisible deck onto your left palm. Cover your left palm with your palmdown right hand, and ask him to name the card he reversed. Dramatically lift your right hand to expose the real miniature, cased, deck. End as usual - as you would with a Brainwave deck.
Say, "Wait a minute; you are really thinking of a card, aren't you? What card are you thinking of?" When it's named, you can remove the small deck proper side up. Simply turn your right hand accordingly as the deck is removed. Turn the case once or twice to show both sides (your thumb or fingers hold the flaps against the case), close the flap (or leave it open if you prefer) and pocket the case. Actually, you can remove the deck, display and pocket the case, before you ask for the name of the card. Just don't bring attention to the face card as the deck is removed - or shade it with your left fingers. Because it's so small, you can
Larry Taylor
Top Down Table Cut
Sometimes the obvious eludes us. This is Larry's (of Philadelphia Magic Co.) tabled cut of the deck which brings the top card to the bottom, leaving the rest of the deck as is imperceptibly, instantly - with no breaks or get-readies of any kind. It would seem that someone would have thought of it before. Perhaps someone has, but I've never seen it - in print, or otherwise. It's so good; so simple. It's just a tabled cut (a double cut, actually) and takes a second. But, obviously, I will have to break it down for you. The deck is tabled in front of you, a long side toward you. Your hands grasp their respective ends, as for a normal cut. (See Fig. 1.)
Start that normal cut by stripping out the bottom half with your right hand. (Fig. 2.) As that half is placed onto the left-hand half, the outer side of your right thumbtip contacts the inner right area of the left half's top card (original top card). That area of your thumbtip is right at position as the half is being placed. (See Fig. 3.) At the same time, your left hand starts to strip out its half. The original top card of the deck (top of left-hand half) is held stationary with your right thumbtip! (Fig. 4.) I â&#x20AC;˘1061-
have purposely shown that card protruding inward - which is all right but, in performance, your right thumbtip would contact that card at the proper area so that it'd be almost flush with the right-hand half. A few tries will show you how easy that is. Also, in performance, you'll see that it's actually a combination of holding that card stationary with your right thumbtip and moving it slightly backward onto the tabletop. Complete the cut; the left-hand half is slapped onto the right-hand half. That's it. Afterthoughts: There are no pauses during execution it' s done in a fairly-rapid 1-2 beat. Ordinarily, in order to do this kind of cut, you'd have to break, separate, or step that top card. Now it can be done with absolutely no preparation or get-ready. It's easy to do, and may (should) become standard.
JeffMoche
An Okito-Box Turnover
No routine, just a simple (and so far as I know - new) way of secretly turning over the Okito Box as you apparently simply cover it with the lid. It's quite simple, easy to do, seemingly obvious, and shouldn't take much space to describe. There are four half dollars in the box. The box is held between your left thumbtip (on top) and forefingertip (below) at its upper and lower sides, opening of box toward audience. Your spectators see the uppermost coin. The lid is on your open right fingers; lying near the tips of your second and third fingers - the sides of your first and fourth fingers hold it in place. Since you don't want to make it obvious that your first and fourth fingers can hold (clip) it, your thumbtip is in the lid, apparently holding it in place. This is display position for box, coins, and lid. (Fig. 1 shows it all.)
actually happens: Your left hand remains stationary. Your right hand turns inward, palm toward you, and toward the box. Your first and fourth fingers hold the lid as your thumb moves to the box. The very tip of your right thumb contacts the outer right wall of the box, near the rim. You may prefer to "contact" right on the rim. The back of your right hand completely "shades" this. (See Fig. 2.)
There is no pause. Swivel the box by pushing to the left (and slightly toward you) with your right thumb. The box is swiveling clockwise, mouth toward you. (Fig. 3 shows the box about halfway through the turn.) Just continue swiveling the box until the lid can be placed onto its bottom. (Fig. 4.) The placing of the lid and the grasping of box and lid with your right hand is one movement. The entire thing is one fluid, continual and instant, action. Place the lid, grasp the box, and place the box onto the table. Your right thumbtip keeps the coins from falling out as you table the box.
Now, place the lid onto and covering the box, and place the covered box onto the table. That's exactly what it looks like. Here's what
Afterthoughts: Through the years, there have been a number of methods for a secret Okito-Box turnover in Apocalypse. Add this one to the list. It's easy, it's fast, it's completely covered, it's imperceptible!
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JeffAltman
Triple Sec
|his is how Jeff uses Ed Mario's CoverUp Cut for an almost visible and certainly instant reversal of a selected card. Nothing really new here except the clean handling. Full credit, of course, to Ed Mario for the CoverUp Cut. The second-from-top card must be (secretly) turned face up before you start. Shuffle, keeping that face-up card at position. Then, hand to hand spread the cards for a selection. Careful not to expose the face-up card, of course. The selected card is looked at, remembered, then replaced to center. Put the righthand spread onto his card and square, getting a left little fingertip break above his card. You can use a spectator peek for the selection. If you do, you'd have to drop his card to the lower half and get your break above it, in the usual manner.
separation under the original top card. Undercut to that break, but - your left thumb slips the top card of the deck along with it. That top card becomes the top card of the lower half - it "covers" the face-up card. (Fig. 2 shows this in progress.) The lower (left-hand) half is brought to the top. That's it. What you've accomplished, in a very clean way, is to bring the selected card to the top keeping the indifferent face-up card at second from top. Say, "I'd like to try to cut directly to your card. Tell me when to stop." Your left thumbtip riffles down at the deck's outer left corner. When you're stopped, use the upper portion of the deck (above the stop point) to flip the stopped-at card (top card of lower, lefthand, portion) face up. "Is this your card?" The answer is "no," of course. Slide this indifferent face-up card onto the top of the deck - onto the right-hand portion (Fig. 3) and square. As you do, say, "Are you sure this isn't your card?" Here's the key to the "cleanliness" of the effect. As your spectator answers, flip the top face-up card face down. You really do a triple turnover. The "key" is that there must be absolutely no hesitation, no preparation, for the turnover. You have to "go to" the natural break - the face-up card that's third from top, the original indifferent face-up card. So, go to the natural break and casually flip the top face-up card face down - doing the triple turnover. "What is your card?" As you talk, casually cut the deck. The moment you receive the answer, ribbon spread face down to expose the face-up selected card! And, you're clean.
As you say, "Let's lose your card," do Mario's Cover-Up Cut. Briefly: As you undercut to the break, your right thumb lifts the top card at its inner end, holding the separation. (Fig. 1.) The lower half is cut to the top and, as the halves are squared, your left little fingertip moves into the automatic break or
Afterthoughts: If you don't want to openly cut at the end Tto bring the face-up selected card to center) , you can do a top-card cover pass. (See BEST OF FRIENDS, VOLUME I.) Or, do a Classic Pass, if you're nervous about the faceup selected card flashing during the top-card cover pass. Do either one anywhere to center. And, you may want to give the deck a pressure fan before you start to put a slight bend in the cards. This'11 give you more of a natural break for the triple turnover. Most of the time that break is natural. Try the effect; you'll see how clean it is - if there's no hesitation at that triple turnover.
Jay Marshall Quick Warp Bernard Bilis No-Lap Kick Switch Sol Stone Sweet And Low Robert Bengel The Heat Is On Fred C. Baumann Steal Ring Hippie Torrales Open Travelers & Co.
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ILLUSTRATIONS:
Robert E. Lorayne
1063
Gerald Deutsch
"Watch" the Bill/Cup
Jerry's "setting" for performing magic is usually during a business or social luncheon or dinner with what are, basically, everyday items. He's always liked the "cups and balls" effect, but metal cups don't fit his style, and he does not own a close-up mat! Here's an easy-to-do routine that uses only one regular coffee cup primarily because, during a meal, it's sometimes difficult to have more than one cup handy. This is so because your "spectators" may still be drinking their coffee or tea. Jerry also has come up with a "universal" (always convenient) load for an impromptu "cup" routine (or, for that matter, any routine) - his wristwatch.
again. Pick up the bill you just tabled with your right hand and "pretend" place it into the left hand. This time the bill remains in righthand finger palm; don't lap it. Pick up the pen with your right hand and tap your left fist and the cup. Table the pen.
Here's what you'll need and where you'll need it: One crumpled (into a ball) dollar bill in your shirt pocket or in your right outside jacket pocket. Another crumpled dollar bill on your lap. Buckle the strap of your wristwatch and place the watch on your lap with the bill. A pen or pencil (your "wand") is on the table; so is a (mouth-up) coffee cup. An ashtray or saltshaker should be nearby. I'll assume that you know how to "load" a cup.
With your right hand, pick up one of the two tabled bills; place it into your left hand along with the finger-palmed bill. Your right hand picks up the remaining, tabled, bill and places it into your right trouser pocket - but really finger palms it. And as your right hand comes out of your pocket, apparently empty but really finger palming a bill, it picks up the pen and taps your left fist. Open the left hand and let the two bills roll out onto the table.
Performance: Borrow two $1 bills; crumple each into a ball. As you place these onto the table with your left hand, get the lapped bill into right-hand finger palm. (You could start with that bill already finger palmed, but then you couldn't start with obviously empty hands.) Turn the cup mouth down with your right hand, loading the palmed bill into it as you do.
Repeat. That is - your right hand picks up one of the tabled bills and places it into your left hand secretly adding the finger-palmed bill. The remaining, visible, bill is placed (really) into your right trouser pocket. Tap left fist with pen, open left hand and let the two bills roll out onto the table.
Pick up one of the tabled (visible) bills with your right hand and place it (really) into your left hand. Pick up the pen with your right hand and tap your left fist - you're going to make the bill disappear. Table the pen fairly close to the table's edge. Open your left hand; the bill is still there; your magic didn't work!
Open your left hand - the bill is gone. Lift the cup with your left hand to show the bill. The cup is placed into your right hand enabling you to load the finger-palmed bill into it as the cup is re-tabled. Slide the mouthdown cup to your left with your left hand as your right hand finger palms the lapped bill.
Apparently repeat. One bill (only) is put into your left hand, the other is put into your trouser pocket. Tap your left fist with the pen then open your left hand - only one bill rolls out. Act surprised for a beat, then lift the cup to reveal the second bill. As attention (including yours) is on the cup, your right hand drops to your lap and grasps the wristwatch. The load of the watch into the cup is a standard action. Your left hand brings (or slides) the mouth-down cup to the edge of the table - slightly off the edge into your right hand; the watch is loaded. There's no pause; your right hand places the cup onto the table.
Toss the bill into your right hand to display it, then apparently toss it back into your left hand but really retain it in right-hand finger palm. The bill is lapped as your right hand moves to pick up the pen. That's why you placed the pen near the table edge. The bill can be lapped as your right hand moves toward the pen, as it picks it up, or immediately after it's picked up.
This is the point where the ashtray or saltshaker comes in handy. Your watch may make a sound ("talk") as you're tabling the cup. But if you let the cup "accidentally hit" the ashtray or saltshaker as you place and release it, the noise is covered! With your right thumb and forefinger, pick up one of the two tabled bills. It is apparently taken with your left hand, but you really do the French Drop, retaining the bill in your right hand. (Of course, any "pretend" transfer from right to left hand will do here.) Lap this bill as your right hand moves to pick up the second bill.
Tap your left fist with the pen; then tap the mouth-down cup. Open your left hand to show that it "worked;" the bill is gone. Table the pen, then use both hands to tilt the cup backward. Your spectators see the bill, but you do not. Act as if that part didn't work - you do not see the bill. (See Fig. 1.)
There's no perceptible pause here. Show the bill you just picked up with your right hand - then your right hand goes under the table with it, getting the lapped bill as it moves. Slap your open (it opens as it "slaps") left hand onto the table - then lift it to show
Openly remove the ("another") bill from your shirt or jacket pocket, place it with the other tabled bill, as you say that you'll try â&#x20AC;˘1064-
that its bill is gone. Your right hand comes up into view with its two bills. One bill has "penetrated" the tabletop.
Your right hand goes under the table with its (visible) bill, picking up the lapped bill as it moves. Repeat the left-hand "slap" onto the tabletop - your right hand comes into view with both bills. Let them roll onto the table. Pick up one of them with your left hand. Do the Revolve Vanish again as your right hand moves to pick up the pen; then tap your left fist with it. Say, "Watch - here comes the best part of the trick; watch!" Stress that word "watch." Tap your left fist and the cup. Open your left hand - the bill is gone. Lift up the cup - all are expecting to see the bill, but they see your watch! (See Fig. 2.)
Your left hand picks up one of the crumpled bills and displays it on its palm. Do this near the table's edge. Your right hand moves to pick up the second crumpled bill as your left hand closes around its bill. You really do Slydini's Revolve Vanish (lapping the bill) as your left hand turns palm down and closes. (See SLYDINI ENCORES, or Jerry's Dice Caper - Apocalypse; March, 1983.)
Jim Molinart
Afterthoughts: At the end, there's one crumpled bill on the table. Open it and return it to its owner. Take an uncrumpled bill out of your pocket and give that to the spectator who gave you the second bill. Personally, I like to vanish both bills at the end. I simply Revolve Vanish both of them at the same time, or "pretend" place from right to left hand, then lap from my right hand. I think either way is fine. Whichever you use, familiarize yourself with the routine (fill in your own patter) - it's a handy one to know.
I Predict
Jim's effects and routines are good layman magic, but each usually contains one "piece" that'll fool other cardmen. The basic effect here is that you openly reverse one card which predicts the position of a freely selected card in a shuffled deck.
return to take the remaining half and drop that onto the tabled portion. You've simply cut the deck, but the face-down card is now second from top of the face-up deck. Turn the deck face down. The object is to get the reversed 10-spot to second from bottom of the face-down deck. (See Afterthoughts.) Talk about your prediction card being lost in the deck, and then ask your spectator to spread the cards of his cut-off, face-down, packet on the table. Help him spread the cards if you have to. You're going to have to eye count a few cards, so make sure it's a "clean" spread.
Let your spectator shuffle to his heart's content. Have him table the face-down deck in front of himself. Then, instruct him to cut a small packet off the top and place it beside the deck proper. (He can take this small packet from anywhere; top, bottom, center.)
Stress the free-choice aspect and ask him to pull any card toward himself, halfway (or less) out of the spread. He's to peek at that card and remember it. As he's doing this, you have to note at what position that card is from the top of his packet. Do this without making it obvious, of course. For teaching purposes, we'll assume his card is fifth from the top of his packet. (Fig. 2 - your view.)
Pick up the deck proper and spread the cards faces toward yourself; no one else can see the faces. Talk about finding your prediction card. Look for any 10-spot lying near center. Without flashing its face, reverse it in place. Bring the spread to normal face-up position so that the face-down card is seen. (See Fig. 1.) Point out the face-down card as you say that that card is your prediction. As you square the face-up spread get a momentary break above the card above (to the right of) the face-down prediction card. Then, cut all the cards above the break to the table;
Instruct him to push his card back into the spread and square the cards. (It's necessary for you to control the situation so that
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he doesn't remove his card from the spread. If he should, simply tell him to replace it. So long as you know its position from top.) Pick up the face-down deck proper. (If you had tabled it, or held it, face up - turn it face down now.) Grasp it from above, with your right hand, in Biddle-Count position. As you do, do this simple mental calisthenic: Subract the position of your spectator's card from 9 (when using a 10-spot as your prediction) anH remember the answer as your key number. This example, 5 (position of spectator's noted card) from 9 is 4.
you include the reversed (prediction) card. This batch is dropped onto the left-hand cards, beneath the peeled card. The batch is completely "shaded" by that peeled card. (Fig. 3 is an exposed, stop-action, view.) Jim does it that way; you might try just grasping a batch with your left fingertips - no riffling necessary. Just do it cleanly. Whichever way you do it, continue to peel off some more cards, demonstrating your remark. Then, drop the remaining right-hand cards onto the left-hand cards. Finally, cut about ten cards from top to bottom. This is to center the reversed card. The work is done; all that remains is the buildup. Ribbon spread the face-down deck to expose the face-up prediction (10-spot) near center. The tenth card below that face-up 10spot is the selected card. (To its left, if you spread from left to right.) Count to it, ask for the name of his card, and show that your prediction predicted correctly!
Using the Biddle-Count action start peeling top cards into your left hand, one at a time. Peel four (key number) cards that way. And - as you peel the fifth card, steal back the first four in standard Biddle-steal. In other words, you have to steal back to the bottom of the deck the key number of cards. No break is necessary; let these few cards coalesce to bottom. And, continue peeling cards into your left hand. During these actions, tell your spectator to stop you whenever he likes. All right; your spectator says "stop;" you stop. Have him place his packet onto the left-hand peeled-off cards. Now, the move that may be the one overlooked by magicians trying to backtrack this effect. As you say, "You could have stopped me anywhere, of course - here, or here, here," etc. - demonstrate by peeling more cards onto his packet. As you peel off the first card, your right thumbtip riffles off a batch of cards (from bottom of the deck proper). No need to count here; It's an instant action. All you have to do is riffle off a small batch, enough so that
Roxy
Ambitious
Afterthoughts: This took longer to explain than T t would to perform. When you square the face-up spread, after reversing a 10-spot and getting the break above the card above that 10-spot, you can Classic Pass to the break, if you like. A Turnover (or Herrmann) Pass also gets you to proper position. Or, you could cut to the table in a 3- instead of a 2-step. That is, cut half the cards above the break to the table, then cut to the break, then the remaining portion. And, after I turn the deck face down, I like to do a center Hindu Shuffle or two, "locking in" the fact(?) that the reversed card is lost. Of course, it remains at second from bottom. The idea is to always use a high spot card for your prediction; Jim always uses a 10-spot. If the card is lower in value, you may have to restrict the spectator's cut at the start to a very small packet. When you do the steal of the batch of cards from the bottom of the deck proper, even if you should cut right at the face-up card, the peeled-off card would cover it. And, the reason you always subtract the looked-at card's position from 9 is that one card is already beneath your prediction card. If his card is 3rd, your key number is 6; you'd have to Biddle-steal six cards. If you use a 9-spot for the prediction, you'd subtract the noted card's position from 8.
Blacks
The basic effect is that eight cards are shown - four blacks and four reds. A spectator decides which color you're to use. You place, say, a black among the reds (or at bottom of the reds) and it magically jumps to the top. This is done four times and all eight cards are left on the table. It can be built into a very entertaining routine. Roxy didn't send me any patter, but I'll indicate the patter theme I use, then it's up to you to fill in. The main (actually the only) sleight is the good ol' Elmsley Count. You'll need four duplicate black cards (like four 4C's) and four duplicate red cards (like four KD's). You want
them to contrast as much as possible. The size and back design are the same, and the degree of newness (or wear and tear) of all eight cards should be about the same. If you use similar cards rather than identical cards, you won't be able to show cards as they're "buried;" but you can go over my explanation with any four black spot cards and any four red picture cards. Display all cards openly. Then drop the face-up black cards onto the face-up red cards. Spread to display again. Close the spread, obtaining a momentary left little fingertip break above the three lowermost (red) cards as you do. Separate your hands, "cutting" the packet
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at the break. Your left hand holds three reds, your right hand holds four blacks with a red card hidden beneath them. (Fig. 1.) As you're "breaking" the packet this way, ask a spectator which color he'd like you to use. His answer is immaterial because, using magician's choice, put the cards together by placing the three red cards (your spectators think there are 4 cards in each hand) onto the right-hand black (plus one hidden red) cards. The face-up packet, now, from top down or face to rear: RRRBBBBR.
Flip the top in-hand card face up to show that the black card has(?) traveled from bottom to top. (That's why the blacks have to be identical.) Table this face-up black to the right of the three tabled face-down cards.
Turn the packet face down and deal the top four cards - apparently all the blacks - onto the table one at a time, reversing the order of the four cards. Overlap them moving right. The tabled cards are really RBBB from left to right (bottom to top); the in-hand squared packet is BRRR from top down. As you table the four(?) blacks, make an appropriate remark. That is, if your spectator selected black - "Okay; I'll place the blacks onto the table." If he selected red - "Okay; I'll keep the reds here in my hand."
Step 3: Flip the packet face up and Elmsley Count to show four red cards. "And they're the red ones." Flip the packet face down.
Step 2: Do a face-down Elmsley Count with the four in-hand cards to show four as four. "Of course, I have only four cards here..." The count puts the cards into proper position for the next step.
Step 4: Pick up the next tabled black card (the top one - right of spread), flash it, and openly place it, out jogged, to center of the four in-hand cards. (Fig. 2.) Slowly push it flush, square the cards, and say, "It's much easier to make it travel from center to top." Magical gesture, and flip the top card face up to show the black. Table it face up, onto and overlapping, the first face-up (traveled) black card. (See Fig. 3.) Step 5: Turn the in-hand packet face up and Elmsley Count, showing four red cards; "And there are still only four reds here." Flip the packet face down. Step 6: Pick up the now top face-down tabled card, flash it, and repeat steps 4 and 5. The patter as you insert the black card and make it travel to the top - "You see? It really is easier from center to top." Deal the face-up black card onto the first two, and after the Elmsley Count, flip the packet face down. Step 7: Drop that in-hand packet onto the last face-down tabled card (supposedly the last black card). Pick up the packet. Do your magical gesture - "But, as I told you, it's very difficult to make it travel from the bottom to the top!" - flip over the top card to show the black. Step 8: Deal the last face-up black to position onto the three already-tabled face-up blacks; then deal/count the in-hand red cards onto the table one at a time in a "tossing" motion. All is "clean."
Now, in steps; step 1: Take the top (the right-end) card of the tabled blacks, flash it (it's black, of course), and place it beneath the in-hand packet. Magical gesture - perhaps pressing upward on the bottom card - as you say, "It's very difficult to make that black card travel from bottom to top, but it can be done."
Afterthoughts: It's an easy-to-do routine with room tor entertainment; it's also quite magical looking. Fill in your own patter, of course. Roxy (a personal friend from Torino, Italy) occasionally includes a "sucker" touch or two by pretend palming the black from either bottom to top or from center to top. Then showing an empty hand before touching the packet, of course - and so forth. Finally; the routine can be done with giant cards for close-up or platform work.
is published every month by Harry Lorayne, at: 62 Jane St., New York, N. Y. 1001k. All checks are to be wade payable to Harry Lorayne, and mailed to him at that address. Individual issues - $3.50 each Overseas subscription - $U3.50 surface mail Subscription - $36.00 per year (U.S.A. dollars only) - $51.50 air mail All back issues - $3.50 each, plus pstg. $5h.5O airmail to Australia, Japan, So. Africa, etc. ~~~ Canada & Mexico - $U2.50 surface mail.
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Ellipses (...) H S B , the good ol' post office "done it to me" again! Toward the end of 1984 I knew that postal rates would go up in 1985. So... I checked with my local post office and with the main post office - I mean the "mainest" in the U. S. - on 33rd St. and 8th ave. in New York City. I was told that first class rates would "go up" - wasn't told how much they'd go up, 'cause they didn't know. I asked, "Yes, but what about foreign (out of USA) surface mail and airmail?" The answer (at both post offices) - "Oh, that never goes up!" Okay; I took their word(s) for it...who else could I have checked with? My butcher? Baker? Candlestick maker? So I didn't raise the one-year subscription fee for Apocalypse for out-ofUSA subscriptions. What happened? First class mail, in the States, went uf> 2<ÂŁ for the first ounce - that's all. But; out-of-USA rates went up drastically. Example: All surface mail (I'm talking "printed matter," two ounces, which is Apocalypse's category) was 37$; it's 47# as of mid-February, 1985. That's a big jump...100 each. But, it gets worse! Airmail to Europe cost 960 for each copy of Apocalypse. The jump was (is) to $1.12...160 more for each. And - airmail to Australia, Japan, So. Africa, Israel, Thailand, Singapore, and so on, was $1.16...it's now $1.35 - 190 more for each. To quote, again, the post-office authorities - "Oh, that (foreign rates) never goes up"!! (Third class mail and book rate also up... within the States and out - so if dealers have to charge you a few pennies more per copy, it's because they have no choice.) So...I'm stuck. No sense complaining to the post-office authorities who helped me with the "factual" information. .. I still insist that each has the IQ of an ice cube! If my out-of-USA subscribers would like to send me an extra couple of bucks, that'd be nice. But, you don't have to. I know the problems and the cost of sending money to the USA - currency rates, bank charges, etc. I'll just have to absorb it. Of course, the subscription rates are up as of now...check the subscription box. Some out-of-USA subscribers received the April issue very early, because I was beating the rate-hike deadline... perhaps I'll mail two issues at a time every once in a while... just to "beat" the post office. Whenever I can "beat" the post office it really does "warm the cockles of me heart"! A riddle (courtesy) of John Morgan): Why is the post office like an international shoe company? Answer: They both have 100,000 loafers! *** Very interesting. Received a letter from a subscriber plus a copy of a routine called, The Secret Move. No credit given to any individual. My subscriber tells me that he bought the effect in Philadelphia sometime toward the late 1940's - and used it then...still does. The routine is about the same as Flash Surprise (Apocalypse; February 1985). But the real "surprise" is that the "secret move" upon which the effect is based is what we know today as the Hamman Count. Can't help wondering which came first! *** I don't often recommend an item to Apocalytes. I've become very careful about that. (See Ellipses [...]; March, 1984 issue of Apocalypse.) Here's one I want to recommend. Mike Bornstein has put out a good wristwatch item. He showed it to me and I wanted one. (I have two; one is a court card, one is a spot card.) It's a conventional watch; that is, not quartz, not digital it has to be wound. It has an all-black face, gold (colored) hands, red sweep second hand, gold bevel trim, black band, stainless steel dustproof back. It tells time, and - about every 8-12 seconds a card face eerily and slowly appears so that it can be clearly seen under the crystal! The card fills the space available. The image remains for 9-12 seconds and then turns completely black again. This cycle continues indefinitely (as long as the watch is wound), showing the same card. One spectator selects a card (a force, of course), another spectator gazes into the crystal of the watch (after you've shown the black face) and reads the first spectator's mind! Two other routines come with the watch. Mike guarantees it for a year; perhaps a small handling or postage charge if there is a problem. U. F. Grant put out a similar item years ago; it showed the 4C...can't get 'em anymore. Mike's looks better, and the card appears more slowly - more time to show the black face, etc. If you do card work, close-up mentalism, I think you'll want one. I'll even help sell them for Mike...they're only $25.00 each. Add a dollar or two for handling. (This offer is good within the USA only, I'm afraid.) Send the check to me (see address in subscription b o x ) , made payable to me - Mike will send the watch to you. If you order two, I'll make sure you get different cards. I hope my enthusiasm isn't running too rampant. It's just that lately, and frankly, aside from my own books, I rarely see people getting their money's worth. Mike's watch could sell for $50.00 in this day and age, and in my opinion. Take advantage of it - send me your check (make it payable to me) - and get yours. Speaking of my own books...the response to (meaning the orders for) BEST OF FRIENDS, VOLUME II has overwhelmingly exceeded my expectations! I'm having more copies bound, so be patient. The deal I made was to bind a certain number of books at a time. Because... it's easier to store flat (32-signature) uncut sheets than it is to store bound books. That's why I had to draw some lines... retail customers serviced first, then dealers, then jobbers. There may be months in between. . .don' t know yet. Anyway... I've already had more copies bound, and I've ordered another batch done. I'm pleased with your response...you have good taste!! Could it be because I've always tried to give more than the buyer's money's worth!?
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Lotayne's VOL. 8 NO. 6
$3.50
JUNE, 1985
pocalypse © COPYRIGHT 1985 by H. Lorayne, Inc.
ISSUE NO. 90
|ay loved Star Warp (the cover item of the July, 1980 issue of Apocalypse), which is a Howard Schwarzman routine based on a Bob McAllister idea. The concept started with Roy Walton's Cardwarp, but Bob came up with the idea of using one card and a dollar bill. Anyway, Star Warp is a fine routine; although it's not short and does require some practice. Jay does this "quickie;" it takes a few seconds to perform. It will definitely take me longer than that to teach.
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One card is prepared and kept in your pocket; then, you're always "ready." Fold the card in half lengthwise - face of card inside. Then tear it from the center of one long side to the center fold. This is the standard Cardwarp "gaff." (Fig. 1.) Keep this in a left-hand pocket; you want to be able to remove it with your left hand. You'll also need a bill. This may be borrowed; you may prefer to use your own since you need it folded, as you'll see. Up to you; you can easily fold the borrowed bill as you start the effect.
ing card you find
card down, toward you, and the face of the appears! (Fig. 5.) This should be done as end the line - "...it costs a dollar to out."
Leave the face-up card protruding inward and turn over the package end for end, moving the outer end toward you until it becomes the inner end. The face-up card is now protruding outward, just as the face-down card was a moment ago. Push it downward as you did a moment ago. The face-down card comes out of the inner end of the folded bill. Turn the package end for end again; the face-down card protrudes outward. Open the bill to the left; that is, the two open ends at your right are opened out together, folded over to the left, automatically taking along the quarter card. You're basically back to the situation shown in Figure 4. No pause; fold the now left open ends down and to the right - you're "wrapping" the folded card. (See Fig. 6.)
To Perform: Bring out the folded, torn, card with your left hand. Hold it at center, thumbtip on top and forefingertip underneath, covering the tear. The two single long sides (the opening of the folded card) are to your right. The folded bill is in your right hand, its opening (the two single ends) to your left. Turn your left hand palm down to show the underside of the card (Fig. 2 ) , then turn it back. Jay says, "We don't know what this card is, and goes right into it. I've contributed the patter theme - "We don't know what this card is - and it costs a dollar (or whatever denomination) to find out." Slide the folded bill over the folded card but, as you do, and as the bill covers the action, your left -third fingertip opens the inner (torn) quarter of the card. (Fig. 3 is a "looking into a mirror" exposed view, showing the start of the opening of that quarter.) In performance, the bill covers all; your third fingertip doesn't start unfolding until the bill covers. There are other ways. As the bill moves over the card, your left fingers relax - allowing the card to open a bit. Then your right fingers can push open that inner quarter as the bill (and your right hand) moves. The end result (no matter how you get there) is shown in Fig. 4; the dotted lines show the open quarter between the bill halves. No perceptible pause in performance. Fold the left two ends of the bill over to the right. The hidden, open, quarter card goes along. That is the "key" to the idea. There is now about an inch (a bit more, perhaps) of face-down folded card protruding outward from the (sloppily) folded in long quarters bill. Push the protrud-
Push down the face-down card; it comes out of the inner end - still face down. Pull it out of the bill, moving it in the direction that it was moving (inward). Your left forefingertip covers the tear; you're back to "starting" position. Show both sides as you did at the start (look at Figure 2 again) and put the card into your pocket. Open the bill, show both sides, and put it into a pocket or give it back to your spectator. Afterthoughts: It's a quickie and it plays very well. Learn it, try it, and see for yourself. Of course, if you're interested in a longer routine, based on the same idea, check out Star Warp. Lately, I've been ending a bit differently, and it works. As the card is removed from the folded bill, at the end, I drop the bill onto the table, show both sides of the folded card, and say, "Now that I know that the card is the (say) three of clubs - I don't really care!" And, I tear the folded card in half - at the hidden tear, of course - and toss the two folded pieces onto the table near the bill. All is "clean."
Bernard "Silis
c
Ng-Lap Kick Switch
|he basic idea is Ed Mario's - in which the tabled card is "kicked" into your lap. Bernard wanted to do it without lapping. Here are two of his methods; the first is for the switch of one card - the second is for the switch of four or five cards; it's perfect for the switch of a poker hand. And both are imperceptible when Bernard performs them.
switch is a bit different. The "kick" is done with the tips of your right third and fourth fingers - not with your thumb; and it's a "delayed" action. Like this:
For one card: Here's the situation: The face-down deck is on the table in front of you, a long side toward you. The card to be changed, perhaps the "wrong" selected card, is face-down in front of, north of, the deck. The "right" card is palmed in your right hand. Your left fingers rest at the left end of the tabled deck. (Fig. 1 is your view of the situation.)
Your right hand moves toward the single face-down card - as if to turn it face up. That's what it looks like, but here's what you really do: Your right hand moves slightly past (forward of) the tabled card. Just enough so that your right thumb can bend in (toward your right palm) and them kick back toward you, kicking the tabled card back toward the deck! Your left hand lifts the deck's outer long side slightly so that the kicked card slides cleanly beneath the deck. (Fig. 2 is an attempt to show you a stop-action performer's view just as the tabled card is kicked back.) There is no pause at all in action. As your right thumb kicks the tabled card, your right fingers curl inward - above the palmed card - bringing that card into view. It's already partially turned over. (See Fig. 3.) That's all; done correctly, it appears simply as if you've picked up, and are turning over, the tabled card. Turn it face up all the way to show the change. For four or five cards: The situation is as shown in Figure 1, except that there are, say, four indifferent cards face down north of the face-down deck; and, the four aces are palmed in your right hand. The action for the
Your right hand approaches as if to pick up, and turn over, the four face-down cards. When your hand is directly over the 4-card packet - making it look as if you're picking up that packet - really fan the palmed cards. The fan is kept low, touching the table, just in front of the original 4-card packet. The fan "shades" the packet! (Fig. 4 - your view.) Pause for a beat - your spectators think (or should) that the fanned cards are the indifferent cards. It's as you turn that fan fully face up to place the cards onto the table (your right hand turns outward, palm up) that the tips of your third and fourth (and perhaps your second) fingertips kick (or actually sweep) the tabled 4-card packet back toward the deck. And again, your left fingers slightly raise the deck's outer long side so that the four cards slide cleanly under the deck. That's it; you can do it with four cards or with five, for a poker hand. For a poker hand, you might try this: Show the five indifferent cards, then place them, in a packet, to position. The four aces are palmed in your right hand. Do as above, except - as your right hand reaches the packet, actually pick up its top card. Your right hand has to "shade" the tabled packet. (Fig. 5 is an exposed view.) Your right hand one-hand fans its five cards - the four aces and the one card you took from the tabled packet. Turn them face up,
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sweeping the tabled packet back to beneath the deck. Your spectators see one of the original five cards; it looks better.
five indifferent cards. Then do the switch as described just above. The 10S is still there, but the other cards have changed to give you a royal flush!
Afterthoughts: For the last idea - I like to ha"ve the 10S oh top of the five indifferent cards. The J, Q, K, and ace of spades are palmed. You might mention the 10S when you show the
The switches are good. The are instantaneous. You'll have them for a while.
Sol Stone
"kick backs" to play with
Sweet and Low
Sol has a couple of non-impromptu methods for accomplishing this effect; I prefer these impromptu, almost any time-anywhere methods. The first method is completely impromptu, as long as there's a granulated sugar packet (as found on most restaurant tables) handy; the second method necessitates one extra "piece of business." First Method: Ask for the loan of a quarter. When a spectator brings one out, have him mark it, and also ask him to select one of the sugar packets. He can examine it, to make sure it's normal in all respects. Instruct him to table it, and to place his palm-down, and open, right hand over it. When he does, pick up his marked quarter, display it, then "pretend" place it from right to left hand, doing the best such acqultment, or placement, you know. The coin remains in right-hand finger palm. Patter to the effect that you'll try to cause the coin to magically penetrate his hand and end up on top of the sugar packet. Pantomime the tossing of the left-hand coin toward his hand (which is on the sugar packet). Open your left hand as you do - so that all can see that the coin is gone. "Did you feel that go through your hand?" Answer and react according to his response, of course. Ask him to lift his hand off the sugar packet. Act surprised because the quarter isn't on the packet. "Oh, I know; I probably threw it too hard - it must be under the sugar packet." Lift the packet with your left hand. Turn it up/down or to/fro once or twice, acting a bit nonplused - no quarter. This also displays both sides of the packet. Then, with an expression that almost says, "Oh, of course..." your right fingers tear off the right edge of the sugar packet. As your right fingers start tearing, make sure that your right palm is toward your spectators; part of your palm should be seen - the coin is still in finger palm, and still hidden by your curled fingers. Don't say anything about your empty right hand; it speaks for itself. (Fig. 1 is spectators' view.) Both hands are seen to be empty; do not verbalize that factt?). All right; tear off the packet's edge with your right fingers, drop it onto the table or into an ashtray, look into the open end of the sugar packet and, with an affirmative nod, pour the sugar into your loosely closed right hand! (See Fig. 2.)
Drop the empty sugar packet into the ashtray with your left hand, and then - turn your right hand palm down, tossing all the sugar (some grains will fall to the table), and the coin, onto your palm-up left hand. The coin is not seen yet. (Fig. 3.) Then, the same toss from left to right hand. End now, or "toss" one more time - up to you - and finally say, "Here it is!" as you open your hand flat. Let the spectator take the coin from the sugar, and check his identification, etc.
Second Method: For this, you need some magician's wax, or any of the "sticky" stuff available today. Put a bit of it on the palmar side of your right third finger, near your palm, at about the area shown (by the "X") in Fig. 4. And, for this, the presentation is slightly different. After your spectator's hand is on the sugar packet and the quarter has been marked, place the quarter onto the back of his hand (the one on the sugar packet!), as you say, "The idea is to push the coin through your hand onto the packet of sugar." Press down on the quarter and his hand with your right hand, making sure that the sticky stuff contacts the coin. Lift your hand â&#x20AC;˘1072'
and the coin lifts with it - your attention is on the back of his hand. The coin is gone. "Did you feel it go through your hand?" (etc.) just as in the first method. Say, "I probably pressed too hard" - and end as in the first method.
Both methods are excellent as is, and part of that excellence is due to their simplicity. Either method creates, good, memorable, closeup magic.
Afterthoughts: That's exactly how Solomon handles both methods. (I love the idea of pouring the sugar into the hand that's hiding the coin!) Of course, they can be sophisticated by placing the sugar packet onto your right hand, covering the coin - the packet is lifted, the coin still behind it, and so on, to enable you to show both hands empty. Sol doesn't bother. You can also lap, then retrieve, the coin - in order to show both hands really empty. Again, Sol doesn't bother.
Eddy Taytelbaum
Tivo ^Elmsley-Count Variations
If you do the Elmsley Count, and I have to assume that you do, since I don't want to teach it here, you'll find some uses for these interesting variations. The first one is a crazy illusion - it appears as if four cards are being turned face up-face down alternately; then, you spread them to show that they're still all face down. I "take" with my left hand when I do the Elmsley Count. I'll have to explain it that way. Just reverse my instructions if you "take" with your right hand. The four-card packet is face down in your right hand in Elmsley-Count readiness. Your left hand takes the top card, all fingers above, thumb underneath. (Fig. 1.) Turn your left hand palm up, turning that first card face up.
As you apparently take the next face-down card onto this first face-up card, do the regular Elmsley-Count move. (See Fig. 2 for an exposed, stop-action, view.) Turn your right hand palm down (inward) automatically turning over its two cards. Take the upper of the two righthand cards onto the two left-hand cards. (See Fig. 3.) Turn your right hand palm up (outward) turning its face-up card face down - and take it onto the three left-hand cards.
That's all. Do this in rhythm, with no hesitations - it will take a few tries - and it appears as if the four cards are being mixed face up-face down. You can count one to four, or say "up-down-up-down," as you do it, if you like. Or, do it without speaking. Immediately spread to show all cards face down. You might want to try it with the packet face up at the start, but I believe the illusion, the confusion, is better when you start with the packet face down.
Eddy wanted to do the Elmsley Count hiding the second (rather than the third) card from the top of a four-card packet. He came up with this "I wish I would have thought of it" simple idea. Again, I'll describe it as I do it, "taking" with my left hand. Turn face up the second card from the top of a face-down four-card packet, and try this.
Start the count by block-pushing off but the bottom card with your left thumb. block is taken with your right hand; your tention is on the single left-hand card, as count "one." (See Fig. 4.)
all The atyou
That's really it. When you apparently take
â&#x20AC;˘1073.
the next (top) right-hand card onto the first (left-hand) card, do the regular Elmsley-Count move, counting "two." Take the remaining two right-hand cards singly onto the left-hand cards, counting "three, four." You've counted four as four and kept the second-from-top-card from being seen!
Robert Bengel
Afterthoughts: Two simple, but effective, ideas" For the second one, you simply take the bottom card instead of the top one, then do the Elmsley as you normally would. You don't have to use the block-pushoff method; simply take the bottom card. The point is not to hesitate after taking that card - it appears (without saying it) as if you're taking the top card.
The Heat Is On
I've lost count of all the matrix routines. This is a no-extra-coin matrix, and it's the steal of the first coin that makes it more than worth including here. That steal - the first coin - has to be clean because it's usually at the start of a matrix routine that the "heat is on." Most often, your fingers do the "steal;" your fingers, however, are nowhere near the coin in Bob's method.
If you apply some pressure with your left thumb, the two cards buckle slightly they press together, keeping the coin clipped. (Fig. 4 shows the moment of the actual steal.) Note that the left fingers obviously are not near enough to the coin to do any "dirty work." Let one of the right-hand cards fall in place, apparently covering the tabled coin. This may just fool other magicians.
You'll need four coins and four playing cards, and you're working on a close-up pad. Openly place the four coins into matrix position - that is, form the usual square. Pick up the four cards and hold two in each hand. (The cards can be held face up or face down. I prefer to keep them face down so that I can turn the card face up each time a coin "leaves." Except for the steal of the first coin, the routine is a basic one. So, I'll be specific only with that first steal. Use your own ideas and methods for the rest of it. I'll give you the outline only.)
Okay; the two face-down cards in each hand are fanned or spread. The left-hand fan is the crucial one. The upper card is spread forward - perhaps three-quarters of an inch to an inch - and to the right. (See Fig. 1.) As you talk about covering each coin with a card, demonstrate by moving both hands (and the cards) randomly over the coins. Then move both hands to the upper right coin. Your left hand is slightly under your right hand, and your right hand is a bit forward of your left hand. In appearance, and openly, your right hand is going to place one of its cards onto that coin. (Fig. 2.) What happens is that the outer right corner of the left hand's bottom card moves under the coin which, automatically, "clips" the coin between the two cards. (See Fig. 3 for a "straight" view and a side view.)
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Immediately move the two left-hand cards to the upper left coin. Gently slide the top card onto, and covering, that coin. The stolen, clipped, coin touches the pad and falls silently in front of (south of) the tabled coin. (Fig. 5.) Again, your left fingers are nowhere near the "vital" area. Be careful not to clink the two coins. You have one card left in each hand. As you place the left-hand card onto the lower left coin and the right-hand card onto the lower right coin, your right fingers clip and â&#x20AC;˘1074-
steal the lower right coin. I'll leave this to you. Your attention is anywhere but on the lower right area, of course. The stolen coin goes into either right-hand Classic or finger palm, whichever is best for you - as you'll see.
moves aside the lower right card to show that the coin is really not there. Flip the card face up at position. Basic "matrix" action now. Make the inhand coin disappear ("pretend" placement from one hand to the other). Show that it has magically joined the coin at the upper left. When that card is replaced (face down), load the hidden coin. Again, up to you. (See the three methods in the April, 1982 issue of Apocalypse, or check out Impromptu Reverse Matrix - Apocalypse; April, 1983, among others in Apocalypse.) Say that you will openly remove the next coin so that all can watch closely. Do so; openly remove the coin from beneath the lower left card (drop that card back face u p ) . Make the coin disappear, then show that there are now three coins under the upper left card. Replace the card, loading the hidden coin.
You're two coins ahead. Do this properly and smoothly and there can't be any suspicion that you've "moved" one coin and stolen another! At the moment there are two coins at the upper left, one at lower left, none at the upper right, none at lower right, and one hidden in your right hand. Patter about causing coins to magically travel from one card to another. With your right hand, pretend to pluck the coin from the lower right card. Place this invisible coin into your left hand; secretly and really dropping the right-hand palmed coin into that (left) hand. (This is why you have to de'cide on Classic or finger palm - whichever is easier for you to toss from. ) Open your left hand and a real coin is seen. Your right hand
Handle the "last" coin as you did the first. Pantomime "plucking" the coin from the upper right card and place it into your left hand. With your right hand, move aside the upper right card to show that you've really "taken" the coin. Flip the card face up at position. Cause the coin(?) in your left hand to disappear. Let a spectator pick up the card - to reveal the four coins!
upper
left
Afterthoughts: Don't overlook the firstcoin steal; it's good. Because - to repeat your left fingers are too far away to do any "work." Try it a few times; it's the kind of thing you may use within other - your own matrix routines.
Apocalypse Variations or Additions the September, 1984 issue of Apocalypse, I ran Richard Goldshot's RG Location and No Looking Goody Goody. Both of these used two corner-crimped cards and a perfect faro shuffle to enable you to perform a pretty strong location of a freely selected card. Magic Christian, among many others, liked the idea very much. Christian changed it to fit his way of working. I'll explain what he does, but if you don't check out Richard Goldshot's method in the above-mentioned issue, it's conceivable that you won't know what it is I'm talking about. Actually, what Christian did was to reverse the entire procedure. The preparation is to corner crimp the 26th card from the top (of a 52-card deck) and the bottom card. That's all. Cut the deck (or let your spectator do it) into three approximately equal packets, moving left to right. Your spectator is instructed to look at and remember the top card of the left third, replace it, and then drop the entire left third (his card on top) onto the center third. And, the right third is dropped onto all, burying his card. (The left packet has been "sandwiched" between the other two.) I, personally, would instruct him to remove any card (but the bottom one) from the left third - then to place it on top of that third - and continue. It makes for a more completely free choice. Pick up the deck and triple cut it to the table, like this: Cut the top portion of the deck up to, but not including the crimp, to the table. Cut the (now) top portion of the deck up to, but not including the (second) crimp, onto the already-tabled portion. Cut the remaining portion onto all. Pick up the deck - there's a crimped card on top and another near top. Do a perfect "out" faro. The top crimped card remains on top. Do one final cut, cutting the crimped card (that's somewhere near center) to the bottom. The selected card is now on top - conclude your miracle! Afterthoughts: If you can't do a perfect faro - my Non-Faro Faro, out of QUANTUM LEAPS, fits perfectly. You'd even know the selected card as you do it!
"1075'
Fred C. Baumann
Steal Ring
|red uses a key case ending for this lovely borrowed-ring-off-rope method. The ring magically escapes from a knot at the center of the rope (leaving the knot) and appears in his key case. I don't intend to describe the "key case" method, or gimmick, here. Use the one you have, or pick one up at any magic shop, if you want to use that. It would be prepared and set in your left rear trouser pocket for this, since the ring is stolen with your left hand. (See Afterthoughts.) I want to describe only the "escape" of the ring. (Fred tells me that after he developed this handling, he was told that Charlie Miller had demonstrated a similar method some years ago. He hasn't been able to find any written references to aid in giving proper or specific credit.) A 3' to 3 V length of rope is about right. Borrow a finger ring, openly thread it onto the rope, slide it to center, and display it as in Fig. 1, your view. Note that the rope lies on the fingers of your palm-up left and right hands. What happens now is that you tie one overhand knot around the ring. The knot is tied openly and cleanly; you really do tie one overhand knot. But, in the process, the ring (secretly) ends up outside the knot, ready to be stolen.
From the position shown in Figure 1, bring your hands together crossing the right-hand strand (B) over the left-hand strand (A). (See Fig. 2.) Form the knot: Use your left fingers to push a loop (or bight) of the (now) left strand (B) through the loop, pushing toward yourself. (Fig. 3.) Put your left thumb under that pushed-through bight (the strand rests on your thumbnail) and pull the entire strand (B) through the loop, just as is ordinarily done to form the simple knot. (Fig. 4 is a stop-action view showing the "pull-through" in progress.) When it comes all the way through, display; let it be seen that the ring is really in the untightened knot. (Fig. 5.) Then, let the (now) left strand (original B) drape to the right of the hanging ring. You're holding all with your right hand. (Fig. 6.) Pause and display in this position; the ring is obviously in the knot.
As usual, it is difficult to describe rope and/or knot maneuvers in print. This is a simple handling; follow it carefully, try it a few times, and it will "lock in". Your finger movements and placements may end up just a bit differently, but the end result will be the same.
As part of the "display," your left hand moves the ring up to the top of the knot, as in Fig. 7. Pause to display that way for only a beat. Then, as the tips of your right thumb and fingers hold the ring and rope, as in Figure 7, your left hand moves around the knot and ring to - apparently - tighten the knot around the ring. But, as you start tightening (sliding the knot to your left), the ring moves through the upper loop or bight - the "X" in Figures 6 and 7. (I hold the ring, for a split second, between my right first and second fingertips. This makes it easy to move the ring through the bight or loop, as explained.) It's all just aâ&#x20AC;˘1076-
Your right hand grasps the center of the rope, covering the knot and hiding the fact that the ring is already free, as your left hand (with the ring) slides to the left end. That left end is held toward a spectator who is toward your left, as you ask him to hold it tightly. It's as you ask that you, apparently by accident, let go of that left end. (It's what I call an "oops"!) Drop the end - you simply move your left hand too far. This releases the ring, then immediately grasp that end again handing it to the spectator. The ring is now in your loosely-closed left hand. Reach over with your left hand to grasp the right end of the rope. Hand that to a spectator who is toward your right.
bout automatic, as your Left hand slides and tightens the knot to your left. And, when the ring moves under, or through, that loop, it is already outside the knot!
That's it; your right hand still covers the knot at center; your spectators believe that the ring is also at center, in the knot. The ring is in your left hand. End as you like. If you had a wand under your right arm, you could grasp that now, with your left hand - secretly threading the ring onto it. Or, reach for a pencil or pen in your inside right jacket pocket, and thread the ring; or get it into a nest of boxes, etc. Fred ends with the ring on a key loop in his key case. So, dramatically remove your right hand from the rope to disclose only the tight knot - and produce the ring as desired! Afterthoughts: It's a simple knot and ring-steal. Once you've got it down, you can give all your attention to presentation. And, it can be a strong effect. If you like, as you tighten the knot by sliding it to your left, you can also pull the right end to the right with your right hand, to aid (or pretend to aid) the tightening. And, also if you like, you can steal the ring in your right hand as you do that - in the same way as explained for stealing it with your left hand. You'll also want to experiment a bit with how large a knot you want to form at the very start. This, of course, can be regulated by how far apart your thumbs are held during the initial display; Figure 1.
Your left hand, which "shades" all, slides the knot and the ring to your left until the knot is tight. (Fig. 8 is an exposed view of the situation. From the front, spectators' view, all is covered.) Okay; keep sliding the ring to your left. It will pass over the knot; it is now to your left of the knot. The ring is ready to be stolen, and there are many ways. I'm explaining the way Fred steals it and, I believe, it's a fairly standard method.
Hippie Torrales
Open Travelers & Co.
|his is a lovely routine. Hippie tells me that a similar idea has been in print, but his method and handling are entirely different. It's an assembly-type "open travelers" routine. Since I have no choice but to describe most of the handling, it will seem long - it isn't at all. Your working surface should have a bit of "give." Turn the deck face up and openly cull the AC to 4C to the face. The 4C is uppermost, then the 3C, 2C, AC. As you spread to display spread off one extra card (all cards are face u p ) . And square, stealing the extra card to beneath the four clubs. The deck is still in your left hand. Your right hand holds the "club" packet from above. As you count "four - three - two - one" match the following actions to the count: Your left thumb peels off the 4C; it's held for that split second by your left thumb and fingertips. The 4C is placed to beneath the right-hand packet, stepped to the left. The packet is still held by your right hand, slightly above and to
the right of the deck. Peel off the 3C and put that beneath the packet, stepped to the left of the 4C. Repeat with the 2C - and pause to display for only a beat. (See Fig. 1.) Display for only a beat because you don't want the fact that the clubs are now out of order (ace-4-3-2) to register. And it won't. You showed them in proper order at first, and your count is in proper (descending) order. You've set that idea subliminally; it's strengthened
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by the next step. Square the clubs - the stolen card is second from face, beneath the AC. Table the deck, face down to your left. Flip the club packet face down, and say, "I want the ace of clubs on top." Do an Elmsley Count. This accomplishes two things - it shows four cards, and it sets the bottom AC to be shown on top. Because, as you do the Elmsley, get a left little fingertip break beneath card #3.
off, pretend to take it into your right palm as your left thumb pulls it back and flush. Then, crumple it away, etc. You can pantomime tossing it toward the AC. Then, "hit" the double card with your right palm, spreading its top card no more than a half inch to the right.
Immediately do a double turnover, displaying the AC. The face-up double is stepped to the right of the packet, held in place with the left thumb. Table the AC (two cards as one) in front of you by grasping it from above with the right hand - your thumb at inner end, second finger at outer end. If you keep your forefingertip at the double's center as you table it, then lift your right hand straight up off the card(s), forefinger leaving last, you shouldn't have "spreading" trouble.
Take attention away from the face-up double card by immediately dealing the remaining three cards into a face-down tabled horizontal row above (north of) the AC. Be sure to mention the cards - "And the two of clubs, the three of clubs, four of clubs," as you do. Pick up the deck and say that you'll put three indifferent cards on the 2C, the 3C, and the 4C. Do so, except that as you spread and show three cards for the 4C, steal back the lowermost card as you square. Only two cards are placed onto the right-end card. Place the deck aside. Hippie does a pretty piece of handling to lock in the "singleness" of the AC. Pick up the 4-card packet at left of the row, saying, "I'll work with the two of clubs first." As your left hand picks up that packet, or immediately after, your right hand turns the AC face down, like this: Grasp it at its left side, thumb at inner left corner, second finger at outer left. Move the double slightly left as your third finger pushes gently left on its face. This starts to turn over the card(s) to the right. (See Fig. 2 which shows the turn in progress.) Let it turn all the way face down; its right long side contacts the tabletop during the turn, assuring continued alignment. And, your forefingertip is automatically at its center when it's completely face down, so that you can remove your hand as explained. This is pretty, and you should do it perfectly after only a couple of tries. But, don't call attention to it; just do it casually as you talk about the "2C" packet. "Let's get that two of clubs to the top." Reverse count the four cards, really doing an Elmsley Count. (This brings the 3C to second from top, which is where you want it.) Now, do a pseudo vanish of the packet's top card. The standard "rub-away" vanish is fine. Or, push it
Here's Hippie's awfully good "load" action. It may seem difficult, but it isn't. Flip the left-hand packet face up. To show that the 2C is gone, push off the top card and take it with your right hand. Buckle the bottom card of the three remaining cards and take the resulting double card (as one) to beneath the first card. (A block push-off will also do.) Place the last single card onto the first two(?). You've shown three cards; the 2C is gone. As you square the cards - your left fingers push the rear card (3C) to the right; a simple side-steal action. The card's outer right corner butts to between your right third and fourth fingers - at their bases. Your right thumbtip is automatically at the card's inner left corner. Now separate your hands. (Fig. 3.) It's instant and imperceptible. As your left hand drops its three face-up cards to "row" position your right hand, with the hidden card, moves to the two leader cards. This is the pretty part. Grasp the two (slightly) spread face-down "leader" cards from above, at about center, and pick them up! (Fig. 4.) Your left thumb pushes up from beneath at the left side of the two face-down cards, turning them over to the right onto the hidden card. (Fig. 5 is the "turnover" starting. Fig. 6, its completion.) From the front, you're displaying the AC and 2C. The hidden, "clipped," card remains at position, stationary, throughout. You have shown the magical arrival of the 2C. Square the cards from underneath with your left fingers. The 3C remains completely hidden and automatically goes to the rear. Flip the packet face down and pull the bottom card to the left with your left fingers - about half an inch. Table the two (apparently) cards to position that way.
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Pick up the center-row packet. "Now, the three of clubs." Repeat the handling - Elmsley Count, then make the top card, the "3C" disappear. Show only three cards left, exactly as before - stealing the rear card - the 4C - also as before. The display of the 3C at leader position, and the load of the 4C, are also the same. "Hit" the leader packet, after the vanish, to show that another card has arrived. The reason, incidentally, for slightly spreading the cards at leader position is to facilitate picking them up with your right hand as that hand is holding the hidden card. And, you have more "shade" when displaying the three cards. Square the three (apparently) cards and flip the packet face down. Your left fingers slide out two cards from bottom, and table the 3-card spread. Of course, the final card is a snap. Pick up the right-end "4C" packet. To be consistent, Elmsley Count the three cards as four, "to bring the four of clubs to the top." Do the pretend vanish, then "hit" the leader packet, spreading the top double, to show four cards. Flip the in-hand packet face up and, using the same actions as for the previous packets, show only three cards (there really are only three). Table these three face up to position. Turn over the 4-card leader spread and
display the ace to 4C, in order! Afterthoughts: The steal/load for the 3C and 4£ really is good. A bit of attention to angles is called for. Just keep the back of the right hand toward the audience. It's a naturallooking thing. You may want to "build" the last "travel" a bit. After the "vanish" of the 4C, Elmsley Count the three cards as four again the 4C didn't disappear. Place the packet face down to position. Square the leader cards - apparently still three. Instruct your spectator to pantomime tossing the 4C from the row packet to the leader packet. Then, let him spread the row packet to find only three cards. Let him turn over and spread the leader packet - to end! Or, what I like to do: I don't "hit" the leader packet; I leave it as is, showing three face-down cards. After showing that the 4C has left the in-hand packet, I look expectantly at the leader packet. I show surprise - still only three cards there. "Oh, of course; it's still traveling!" Here, I pantomime the flight of the 4C with my eyes - "catching" it with my right hand which, in turn, smacks it onto the leader packet - spreading the double card. Say, "There it is!" This has a good subliminal, psychological touch. Anyway, it's up to you.
Ellipses (...) just love the statement attributed to Gore Vidal: "Every time a friend succeeds, I die a little"! The success of a friend or even a "fleeting" acquaintance can do something to a person's ethics, or to his sense of morals...I guess. What's running through my mind is something that happened almost three decades ago. I had written my first book, HOW TO DEVELOP A SUPER-POWER MEMORY. It started to take off, full-page advertisements in every newspaper across the country, and in all national magazines, etc. A few years passed - the full-page ads continued; HOW TO DEVELOP A SUPER-POWER MEMORY was a huge success. Big sigh of relief from me. I'd received the enormous sum of $500.00 as the advance against royalties, and I was frightened. Because - I'd spent the $500.00, and I thought I'd have to give it back if the book didn't sell! I've learned quite a bit since then. Anyway, in 1962, a book appeared on the market written by two "acquaintances" of mine — Dr. Morris N. Young and Walter Gibson. The book was published by a company called Chilton. Now, anyone can write whatever he likes. Morris Young was a collector of memory memorabilia - he continually called me, wrote me, asking me to send him any of my material - brochures, promotion pieces, publicity, pertaining to my appearances and writings, and so on. And, most often, I complied. As I said, anyone can write anything he likes. But, my book is titled HOW TO DEVELOP A SUPER-POWER MEMORY. Are you ready for the title of the Young/Gibson book? How To Develop An Exceptional Memory! This was just a bit much, in my opinion. How obvious can you get? It was the most open attempt to "ride" on the success of HOW TO DEVELOP A SUPER-POWER MEMORY. I am sure they felt that the success of my book, and my full-page ads would sell their books! The publisher sent me a copy, asking for my comments. I don't think he used my comments! Morris Young autographed a copy to me. He wrote, "His Super-Power Memory is a contemporary inspiration." No kidding! And, interesting - nowhere in that book could you have found even the teeniest mention of my name or the name of my book. I do, incidentally, remember Dr. Young calling me and asking me if I'd mind if he (they) used that title. I told him in no uncertain terms that "of course I'd mind - It'd be an obvious rip-off," and "why would you want to do such a thing in the first place," and so forth. Well, my "minding" obviously didn't much matter - and/or they got an offer they couldn't refuse - or my success made them "die a little" - I don't know. Many people a book on memory it was "written Connecticut and
like to "ride" the success "tails" of others. Even Dr. Joyce Brothers put out training a very short time after HOW TO DEVELOP A SUPER-POWER MEMORY appeared; with" another gentleman who had come to see me at an appearance in Hartford, picked my brains for a few hours. Their book was, in my opinion, (that phrase
•1079-
is to avoid law suits; it's not necessarily heartfelt), a direct rip-off of mine. Well, I haven't heard the name Chilton in over twenty years; nor have I heard of the book written by Young and Gibson in over thirty years. It sold "zilch;" it's been out of print since 1963 or 1962, so far as I know. Dr. Brothers' above-mentioned book also fell by the wayside. That's what usually happens to imitators. HOW TO DEVELOP A SUPER-POWER MEMORY is still selling quite well, thank you! (In paperback.) This kind of rip-off is nothing new to me anymore, of course. It has been happening all through the years; it's happening now!
I'm so glad that Apocalypse serves purposes other than being the best magic publication around today! When any "columnist" for any other magazine needs to fill space he can always take something out of its pages. Example: Allan Hayden's Bottom-Deal Dodge appeared in the February, 1984 issue of Apocalypse. There was a handling variation of mine in the Afterthoughts of that item, and another handling/presentation (Bob King's) appeared in the May, 1984 issue (titled, Too Late!). Regardless, the effect appeared in a column a year later - credit to Allan, not a mention of Apocalypse. Oh, well...what else is new?! Randy Tanner came up with this interesting idea. In, basically, his own words: For as long as I can remember, I have always wanted to find a simple method for gaffing a deck of cards before it was removed from the case (and cellophane), without disturbing the "integrity" of the cards. I also wanted the gaff to be extremely discrete. Recently, I found a method that met my criteria. It is fairly simple, and it provides some interesting opportunities for deception. You'll need a #80, or smaller, drill bit. This is available at a hobby or model store. You'll also need a Dremel, or other, suitable drill - one that will accomodate the small bit. Now, drill a hole in one of the non-index corners of the deck through the cellophane. Protect the cellophane by placing a playing card on top of the cardcase. This will also serve as a guide for drilling the hole. My preference for the hole's position is where the white border meets the back pattern, as shown in the illustration. If this is done correctly, it creates an almost indetectable one-way deck which may be uncased, and shuffled by the spectator.
There need be no fear of detection. Since the spectator himself removes the cellophane, and then removes the deck from the case, he will suspect nothing. (HL: Think about it. For the index - The Holey Deck.)
Harry PUBLISHED, WRITTEN, EDITED:
Loravfie
Paul L. Smith David Regal
ILLUSTRATIONS:
Robert E. Lorayne
Matrix Intro Opening Okito Closing Okito ...plus lots more great magic!
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is p published everyy month by y Harryy Lorayne, y , at: 62 Jane St., , New York,, N.. Y.. 1001 ti. b d l H All checks are to be made payable to Harry Lorayne, and mailed to him at that address. Individual issues - $3.50 each Overseas subscription - $U3.50 surface mail Subscription - $36.00 per year (U.S.A. dollars only) - $51.50 air mail AU_ back issues - $3.50 each, plus pstg. $51*.50 airmail to Australia, Japan, So. Africa, etc. Canada & Mexico - $U2.50 surface mail. â&#x20AC;˘1080=
Lofayne's VOL 8 NO. 7
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JULY, 1985
pocalypse Š COPYRIGHT 1985 by H. Lorayne, Inc.
ISSUE NO. 91
Paul L. Smith
Matrix Intro
you do a matrix routine (some do more than one), you'll find this an excellent way to get into it. It's quick, it's startling, and it doesn't use any of the standard moves that are used in the matrix, so there are no duplications. There are no "new" moves, but it is "real good" magic. You have to be working on a close-up mat. Paul described it to me quite clearly so, if you discount my inevitable editing and small "asides," here it is in his words: way
The following was conceived as a magical to introduce the props; that is, the coins
and cards for a matrix routine that's performed close up, under the eyes of the spectators. The usual miser's dream moves used in platform or stage magic don't hold up under close-up conditions. The close-up audience feels that you're playing on their gullibility if you pretend to extract coins from your wand, and if you do your "extracting" in the vicinity of chins or noses, you may be guilty of violating personal space. Required are four coins, the ones you will use in the matrix routine that follows, and two
.1081
playing cards which are also used in the matrix routine. I use English half-pennies, which are about the size of a quarter and are sufficiently uncommon to generate interest. One coin is openly displayed on the palm of the left hand. The right hand holds the two cards, slightly spread, between the thumb and first two fingers. The cards help to conceal the coins, one of which is Classic Palmed in the right palm. The second is finger palmed by the third and fourth fingers. (HL: You want it in low finger palm, because it will be the first coin secretly released.) The third coin is at the tips of the first and second fingers under the two cards. (HL: How to get into this position is discussed in the Afterthoughts. And, you can turn your right hand palm toward you to show the underside of the cards. Your first and second fingertips cover their coin - the other two can't be seen. Look at Fig. 1. Then bring that hand and the cards back to position.) The coin in the left hand is offered for examination, then is taken back with the left hand. Turn over that hand, apparently tossing its coin onto the table. A Han Ping Chien move is performed, however; the left hand retains its coin in finger palm as the right hand drops the coin which has been finger palmed by the third and fourth fingers.
to polish the top surface of the coin. (Look at Fig. 2.) As the corner is turned back to its normal position, the left hand loads its finger palmed coin under the mat! Patter about how the chemicals in the skin (of the hands) cause the coins to lose their brightness. They would stay a lot shinier if you didn't touch them, but that would make it pretty difficult to do the magic. As you speak, the Classic-Palmed coin in the right hand is allowed to drop to the fingertips. You pick up the top card of the two tabled cards with the right thumb and first finger. And as the card clears the tabletop, the second finger is used to rotate it end for end, to face-up position. (HL: Your second finger simply moves onto the card and pushes away from you. [Fig. 3.] Your thumb moves up onto the face of the card.) At the completion of this rotation, the card rests on all your fingers hiding the coin; your thumb is on the card's face. The card is now used to scoop up the coin on the mat and to apparently toss it into the left hand; the left hand then tosses it onto the table. (HL: I prefer to toss "it" directly from the card onto the table.) However, as the right hand turns palm down, the thumb grips the scooped-up coin, and the fingers release the coin which has been hidden by the card. (HL: A fairly standard, and good, move. There's now a coin hidden under the card, held in place by your right thumbtip.) Your attention is on the visible coin as the right hand puts the face-down card to one side, loading the hidden coin under it. You have loaded three coins, one under each card, and one under the left corner of the mat, while displaying only a single coin. So far, the pace has been leisurely, but now things start to speed up a bit.
The left forefingertip and thumbtip grip the tabled coin by its edges and move it back and forth on the mat in a sort of rubbing action as you comment on the difficulty of keeping copper coins looking bright. (HL: Or silver coins, if you're using quarters.) The right hand comes over to assist in the polishing, first laying the two cards to one side on the mat and leaving the coin which had been at the tips of the first and second fingers under the cards. Your attention is focused on the visible coin as the right forefinger is placed upon one edge of the coin and the left hand picks up a corner of the close-up mat and bends it over
"The problem," you say, "is that if you give the coin too much attention, it soon develops a mind of its own." The right hand picks up the (visible) coin and apparently places it into the left hand as you do your best retention vanish (or "pretend" placement). Show the left hand empty. It then lifts the outer right corner of the mat as the right hand reaches to under the mat at that spot and apparently finds the coin there. Repeat (HL: That is, "pretend" place the coin into your left hand), but this time lift the outer left corner of the mat to reveal the coin previously loaded there. The right hand picks it up and simultaneously loads its finger-palmed coin under the mat as the left hand drops that corner of the mat. Toss this "produced" coin onto the mat. "You
â&#x20AC;˘1082â&#x20AC;˘
think
there
must
be
two
coins, do
load up side on the coin hand. It
you? Well; there's one. There's two. There's three. And there's four!" Point to the visible coin. ("There's one.") Lift up one of the cards ("There's two"), and use it to scoop up the remaining card, capturing the coin under that remaining card so that it is sandwiched between the two cards. Grasp the two cards with both hands at the cards' long sides and tilt them so that the coin emerges. ("There's three." And see Fig. 4.) The left hand turns back the left corner of the mat ("And there's four!"). End.
as per the above, put the box to one the table, and come out of my lap with on one palm and the cards in the other takes a couple of seconds.
It's a very quick and surprising production of three coins. You're ready to go into your matrix routine. Afterthoughts: Paul continues: The getready for the right hand sounds pretty complicated, but it's really simple. I keep the three coins in a Bulldog clip, with about two-thirds their diameter protruding from the clip. (See Fig. 5.) This makes it easy to press the coins into a Downs palm and remove the clip. Drop the clip on your lap and use the left hand to position the coins in the various palms in your right hand, then add the cards. I keep all the props for the routine in a small box which I show, then place in my lap as I extract the various props, the clip, etc., as I talk. I
John McClure
HL: Paul goes on to say that he applies my thinking when I set cards right under the noses of my spectators. That thinking has always been that if you don't make an issue or big deal over it, neither will your spectators. Just do it! Of course, you can get yourself set any way you like. Work it out; it's worth it.
Oil and Water Supreme
Mario mentioned the use of differentcolored backs for an oil and water routine way back in Ibidem. Others utilized that idea in conjunction with the red/black faces. Ed has a couple of such routines in Mario's Magazine #3 (1979). Anyway, although there are no new moves involved, the clean, direct, handling of John's routine makes laymen grab for the cards! It utilizes no extra cards, but there's a "ringer" blue-backed card among the red-backed cards and a "ringer" red-backed card among the blue-backed cards. You can start "clean" if there are two contrasting-back decks handy. I'll mention that after I teach the "already-set" version. (Learn this, then check out Mike Bornstein's routine.)
Let the top card of this block be seen as your right hand flips its packet (5 cards) face down onto the left-hand packet. This maneuver (call it the Rollover Switch) has transposed the two 10-spots. Immediately spread the cards between your hands to show the four blue backs and the four red backs. Standard patter: "It's easy to follow the black cards (oil) because they have blue backs. The red cards (water) are red backed." You can do some "flashing" here, if you like. For example, flash the bottom one or two red faces as you mention "red cards..red backs." With your right hand, table the four face-down and slightly spread blue-backed cards. Your left hand holds the spread face-down redbacked cards.
Preparation: From the red-backed deck, remove the 7H, 8H, 9H, 10S; from the blue-backed deck, take the 7S, 8S, 9S, 10H. Arrange these eight cards in a face-up packet, from top (face) to bottom (rear): 10S,9S,8S,7S,10H,9H,8H,7H.
2) With your right hand, pick up the top (tabled) blue card and insert it, protruding halfway, between the 3rd and 4th red-backed inhand cards. Continue by inserting the remaining blues, interspersing, moving upward, among the reds. The last blue becomes the top card and is held in place with your left thumb. You can, if you like, flash the last three blue cards; they are blacks. They're not in the order in which they should be, but no one will notice that. It is best, perhaps, to flash only two, or one.
To Perform: 1) Spread the face-up cards between your hands pointing out the fact that you have four red cards and four black cards. Patter about not being able to mix oil and water (I don't think I need to teach patter for this). Separate your hands - red cards in left hand and black cards in right. Display for a beat or two. Put the cards together as they originally were (blacks on reds) and square. As you do, get a momentary left little fingertip break above the lowermost three cards (between the 9H and 10H). Flip the 3-card block below the break face down. This is done in an instant by curling your left forefinger beneath the packet. The point is not to flash the 9H at the face of this block - it's supposed to be the 10H.
â&#x20AC;˘1083'
Square, leaving the blue cards upjogged; then slowly flush the blues. Spread the cards between your hands to show that the red and the black cards (oil and water) are obviously mixed. As you do, prepare for a standard switch of two cards - which I've taught before. John has added the "swirling" of the oil and water; this covers the switch nicely and makes it a better move, in my opinion. Briefly: As you spread, place your left thumbtip onto the inner left
left hand. You can flash the top card (7H) again; replace. Get a break under that top card as you say that, now, you'll keep the oil and water separated. Pick up the top two blue-backed cards (you can flash if you keep them aligned - the top one is the 10H) and square them (or adjust them) onto the left-hand cards. Move the blues to the right, stealing the one red card beneath them. Hold all cards in your left hand in stepped condition, blues on top and to the right. (Fig. 2.) Stress that you're keeping the colors separated.
corner of the 4th-from-right card (7H). And, from underneath, press your right second fingertip up onto the face of the inner right corner of the 5th-from-right card (7S). Ask your spectators if they know what'd happen if you swirled the oil and water mixture. As you talk, start to rotate the spread on a horizontal plane. As you swirl, start separating your hands - four cards in each. Your left thumbtip moves the 4th-from-top card along and onto the left-hand cards, and your right second fingertip moves the 5th card along and under the right-hand cards. As the swirling and the switch are happening, start turning the cards face up by turning your palms toward you and down. (Fig. 1 is an exposed view before completion of the action.)
With your right hand, pick up the two remaining, tabled, blue cards (they can be flashed) and place them onto the in-hand blues. Hold the blue packet from above with the right hand as your left hand drops the reds (3) onto the table. Your left thumb peels the top blue card onto your left palm. Use the right-hand packet to flip that single card face up then face down again. The right-hand packet is dropped onto the single card as it's flipped face down. Now square, and drop the blue packet onto the tabled red packet stepped halfway to the right.
You're displaying four red cards in your left hand and four blacks in your right. This answers the rhetorical question you just asked. Let's call this the Two Card Fan Switch. Table the face-up reds to the left, face-up blacks to the right; each group is spread, cards overlapping downward. (John tells me that he keeps his hands close to the cards at this point because, in his experience, some laymen will grab for them.)
3) Use the 9H to scoop up the other three red cards; hold all four (9H at rear) face up and spread in your left hand. With your right hand, pick up the 7S and 8S (flash their backs, if you like) and use them to scoop up the 9S and 10S. Place these (8S at rear) onto the lefthand red cards, forming an 8-card spread/display of the separated colors. Close the spread, preparing for the Rollover Switch (just as in step 1 ) . I.e., get a break above the three lowermost cards. That block is flipped face down with your left hand as your right hand flips its packet (5 cards) face down onto it. Immediately spread to show that the red backs and the blue backs are also (obviously[!]) separated. Table the two small face-down spreads - reds to the left, blues to the right. 4) Pick up the top two red-backed cards together and hold them in your left hand. Your right hand picks up the remaining two reds (the faces can be flashed) and drops them onto the first two. The four cards are squared in your
Pick up both packets, together, by placing your right thumb onto the outer ends at the juncture, fingers beneath. Turn the cards face up (Fig. 3 shows this starting) into your palmup left hand. This is to display the red/black contrast. Slowly flush the face-up packets with your left hand. Say that the only way you know to "mix oil and water when they're separated like this is to shake them up." Do a magical "shaking" gesture, then slowly spread the face-up cards to show the alternating condition of the reds and blacks. 5) Acting as if the magic is done, as if you're specifically displaying the red/black condition, take the two right-end cards (9H-10S) together and table them slightly to your left. .Take the next two right-end cards (8H-7S) and table them in spread condition to the right of the tabled two cards. You're forming a left-toright tabled spread. Continue this way until all eight cards are spread on the table. Still acting as if the magic is done, part of the ending display, pick up the four cards at the right end of the spread with your right hand and place them, still spread, into your left hand. Pick up the remaining, still on the table, four cards with your right hand and hold them on the left-hand spread; you're displaying the 8-card spread between your hands. Patter about how strangely the cards have been acting. And, prepare for the Two Card Fan Switch. You
â&#x20AC;˘1084'
hand takes these four cards and tables them, still spread. (You've secretly added the 10S onto the three heart cards.)
are going to turn the eight cards face down, transposing the two 10-spots now at center. Do it as an "afterthought," exactly as explained in step 2, except that you're turning the cards (the spread) face down - and I don't think the "swirling" fits here. Table the cards (lefthand four cards go onto and to the left of the right-hand four) in one spread - to display the alternating condition of the red/blue backs â&#x20AC;&#x201D; and to end! Afterthoughts: Do go over this; it's good. Fill in with your own patter (and personality), of course. Now, to make it strictly impromptu: Run through the red-backed deck and cull the 10H, 9H, 8H, 7H, 10S to the face, in that order. The 10S is 5th from face. Your right hand lifts off the face five-card block as your left hand flips the deck face down. Your left thumb peels off the face card of the packet (10H) and the right-hand packet flips it face down onto the deck. Repeat with the 9H and then the 8H. The 7H (double card) is flipped face down onto the deck as one card. Immediately spread off the top four cards with your left thumb; your right
Mike Bornstein
Put aside the red deck, pick up the blue deck and cull the 10S, 9S, 8S, 7S, 10H to the face. Do exactly as explained for the red-backed deck, tabling the spread of four blue-backed cards to the right of the red-card spread. (You have added the 10H onto the three spade cards.) Pick up the four spread red-backed cards, hold them in your left hand, and you're in the exact position as at the end of step 1 in the text. Continue, as explained, with steps 2 through 5. When doing the prepared "packet" version, you can keep another proper set (the 10-spots matching) in a pocket, and do a switch of packets at the end. That is, if you want to leave the cards on the table for examination. I would not bother; just gather the cards and put them away. For the impromptu "from the deck" version you can simply lose the four red-backed cards into the red deck and the four blues into the blue deck. The 10-spots can be straightened out later, at your leisure.
Supreme Oil and Water and blacks have magically separated. Then, as you talk about alternating the reds and blacks again, square and do a face-up "up-down" separation; that is, a reverse faro. Like this: Upjog the top face-up black card. The next card is downjogged; upjog the 3rd - the 5th, and the 7th. (Fig. 2.) Square the sides of the cards. Strip out the four upjogged cards and place onto the four downjogged cards - but keep a momentary break between the two 4-card packets. Cut the four lower cards, up to the break, to the face; spread them a bit as you do. This is to flash some red; it helps make it all look haphazard - and mixed. (Fig. 3.) Square.
|ohn McClure's and Mike Bornstein's contributions reached me only days apart. There are similarities of course, but the concepts and routines are really different. You might find it interesting to compare the two. Use any similar spot cards - 5's, 6's, 7's, etc. For this, two "ringer" cards are in each four-card group. You'll need four red-backed cards; two of them red faces, the other two black faces. And, four blue-backed cards - same thing. Set the face-up cards so that the black spot cards are uppermost. The four blue-backed cards are at center. (Look at Fig. 1.) To Perform: Spread the face-up 8-card packet between your hands; stress the fact that you have four black cards and four red cards. (Do your oil and water patter.) Close the spread, getting a break above the lowermost two cards. Ask your spectator which he prefers, reds or blacks. Whatever the answer, cut the two rear cards up to the face and, as you turn the packet face down, talk about leaving the reds on bottom, blacks on top. The packet is now squared and face down. As you slowly count the top four blue-backed cards onto the table, one onto the other, say that the blacks have blue backs. Spread the inhand red-backed cards - "And the red cards have red backs." Now, slowly and deliberately alternate the blue and the red cards into one tabled packet. Start with the top tabled blue card. That is, move it from the top of its packet to the left. Then deal the top in-hand red-backed card onto it. Continue this way until all cards are in the tabled packet. If you like, you can flash the first two blue cards (they're blacks) and the last two red-backed cards (they are red spot cards).
Magical gesture. Flip the packet face down and spread the cards to show the separation! (Blue backs are together on top.) Table these four spread blue-backed cards; hold the four spread red backs in your left hand. Alternate the blues into the reds - but just the opposite of John McClure's version. The top blue card is
Pick up the packet. Spread to stress the alternating condition of the cards. Square. Do your magical gesture, and turn the packet face up and spread the cards to show that the reds â&#x20AC;˘1085'
has changed the handling here very slightly. Your right hand drops its single face-up card to the table. Then it takes the (now) top card of the left-hand packet and deals it onto the first tabled card. Repeat exactly (twice) until you're left with one card. Flash its blue back, then deal it face up onto the other six cards. You've shown all blue backs and formed a tabled packet. .
placed, upjogged, to second from top of the inhand (red-backed) cards. Continue alternating, moving downward. The last blue (flash it - if you like) becomes the bottom card. Close the spread, and slowly flush the blues.
Pick up the tabled packet and hold it face down in left-hand dealing position. As you talk about the one red-backed card and point to it (the stopped-at still-tabled face-down card) with your right hand, get a left little fingertip break beneath the top card of the left-hand packet. Pick up the tabled red-backed card with your right hand and place it, in jogged, onto the left-hand packet. Pause; you're showing the red/blue contrast. "But if I do this, they all change back to red!" Since it's done pretty quickly, you'll be believed. Easy. Slide forward the injogged redbacked card until it flushes, then immediately pull back the double card - up to your break. It's similar to the "paintbrush" change. Place the double card to the bottom.
You can spread once more to show the alternating condition. Then, close the spread, square and flip the packet face up. Do a magical gesture. Spread face up to show the magical separation. Close the spread, and square. The packet is face up. Start to transfer cards from top (face) to bottom (rear) one at a time. Ask your spectator to stop you at any card. He does (really) have a free choice.
There's an "optional" here. Mike and I agree that it's unnecessary, but you may want to do it. Turn the packet face up and do a Flushtration Count/Display to show all red backs. Mike shortens this by peeling off two cards at a time with his left thumb after flashing a red back each time.
When he indicates a card, deal it face up onto the table. Pause; then turn it face down. Patter according to color of back and face. For example, if it's a blue-backed black card, say, "You stopped me on a blue card." If it's a redbacked black card, say, "This back has changed to red." The same idea is used if a red spot card is indicated. This is really immaterial; the strong point is that you make it appear as if all the cards in your hands change to the other color. This is done via Ed Mario's Olram Subtlety; you're in perfect position for it.
In any case, whether you do the Flushtration or not - the packet is face down, and Mike ends by saying, "But if I wanted to start this trick all over again - I'd tap the cards..." Do a magical "tap" or gesture "and the cards would be just as they were at the start!" Immediately spread the face-down cards to show that the blue backs have returned - they alternate with the red-backed cards!
Briefly: Assume the stopped-at card has a red back...your left thumb deals the top (face) card into your right hand (See Fig. 4) and both hands turn palm down to show blue backs. (See Fig. 5.) Turn both hands back to position. Mike
Afterthoughts: Well, there you have it. Learn IT, try it, compare it. You realize, of course, that if you're stopped on a blue-backed card for the ending - it all still works out right, automatically!
Michael Rubinstein Business Card Production Shigeo Takagi Wilder Cards Bob Friedhoffer Double The Tip Father Cyprian Untilt Mark Lefler, Doty, Keith Breen, and more...
Remember - if you photocopy
PUBLISHED, WRITTEN, EDITED:
this magazine,
you lessen its worth to YOU!
•
Harry ILLUSTRATIONS: •1086 •
Robert E. Lorayne
David Regal
Opening Okito
This is the second contribution having to do with a "plug" box (solid Okito Box, sold by Johnson Products, I believe) I have received since Apocalypse started. The first one ran way back in 1978 (February); it's very good. I like this one better. You'll need the "plug" box, a regular Okito Box, and four half dollars. (The "plug" is really nothing more than a brass dowel of the correct width, cut to the correct length or size. ) The four coins are on your close-up mat, in a left-to-right row. The bottom (not the lid) of the regular Okito Box is mouth up on your left thigh; the lid is also opening up on your thigh, but closer to your knee. The plug (solid) box is in your shirt (or jacket) pocket. To Perform: Pick up a coin, spin it on the mat, then put it back to row position. Do the same with each of the three remaining coins. Then, bring out the solid "plug" box; drop it onto the working surface. Turn it over once or twice, then give it for examination to a spectator to your right (opposite you, but to your right). As you lean forward, then back, handing out the solid box with your right hand, let your left hand fall naturally to your lap. Finger palm the box "proper" in your left hand, mouth (opening) against your fingers.
leans back and taps the side of his head with his left forefinger - indicating that he has an idea. Pick up the box with your left fingertips and turn it opening (mouth) toward you. Close your right hand extending only the forefinger, and rub that forefingertip on the mat to create "static" or "friction." Then, place that fingertip against the rim of the box's mouth and slowly circle the box with the finger. (See Fig. 2.) Steadily increase the speed of that circling as your fingertip slowly enters the box. The effect is that your f oref ingertip is drilling its way through the solid box! When the box is fully "hollowed out," table it mouth up behind the coins. Lean back as the effect of the "hollowing out" registers. Both hands fall naturally to your lap, and your left hand Classic Palms the Okito Box lid, opening toward palm. Lean forward, placing the fingertips of both hands onto the table, near its edge, as if to say, "Well - now it's time to begin."
Bring up your left hand to rest naturally at the table edge as your right hand takes back the solid box. The misdirection is strong and natural. Your head turns slightly right to look at the solid box, taking attention away from your left hand. It's as you spin the solid box (as you did each coin) that you secretly switch it for the regular box bottom. The switch is actually done the instant before the spin. The "plug" is at your right fingertips. Turn your right hand palm toward you; your left hand also turns palm toward you, so that your left and right fingertips meet in front of you - on the close-up mat. As soon as the plug is "shaded," pull it back to an "easy" finger palm with your right thumb, as your left thumb pushes the regular box bottom to your right fingertips. (Fig. 1.) Immediately spin the regular box bottom. This entire switching sequence takes an instant, and can't be seen when properly done.
mm
Now, the regular box bottom must land bottom up (mouth down) as it ends its spin. A bit of experimentation and practice will show you just how to spin in order to get the proper result. (I sometimes slap down on the stillspinning box with my open left hand. ) To your audience, nothing has happened. The bottom-up regular box looks exactly like the solid plug. Pick it up at your left fingertips and tap it on each of the four coins, moving from left to right. This not only "locks in" the solidness of the (regular) box, it also supplies misdirection. Because...
With your left hand (lid Classic-Palmed don't let it flash) pick up the two left (of row) coins and drop them into the box. Your right hand drops in the two remaining coins. Look around the table as if "something's missing." Raise your right forefinger, again - to indicate that you have an idea. Cross your hands over each other (at the wrists) at center mat. Pause for a beat, then gracefully (and dramatically) uncross your hands, extending the fingers - and let the lid drop (it's a combination of "placing" and "dropping") onto the mat. It should "appear" equidistant between your hands. It's a magical "appearance" of the lid. Pick up the lid between the fingertips of both hands, and revolve it onto the Okito Box - keep the motion graceful and symmetrical.
As your left hand taps the box against the coins, your right hand moves to the table edge and laps the plug. It should "lap" to center between your legs. David taps the four coins (laps the plug), tables the bottom-up box, then
Afterthoughts: It's a pretty quick piece of business; it's my explanation that's long. When you do it properly, you have the full attention of your audience - go into your Okito Box-coin routine! â&#x20AC;˘1087'
Jim Swain
Slow Motion Oil and Water is (black, red, black) and table them face down. Reverse count the three aces - the double, single, single, but place the last single ace to the bottom (rear) of the packet. Flip the packet face down (ace, queen, ace, AS) and cleanly drop it onto the tabled queen packet. Be sure your spectators are aware of the fact that the aces and queens are separated. Press down on the packet with one finger, saying that this is the only way to force the aces and queens to mix.
This is based on some derivations of an old Stewart James trick and Roy Walton's Oil And Queens (The Devil's Playthings), among others. The strength of Jim's version is that all appears to be clean and aboveboard. It'll take some explaining on my part and a bit of work on yours. The 7-card set-up, from face to rear: Black queen, red queen, black queen, red ace, red queen, AS, red ace. The face-up packet is in left-hand dealing position. To Perform: Spread off the three queens (at face), then double buckle to show the three aces. One red queen is hidden behind the first visible ace. If you can't double buckle, spread off the queens, then pull two rear cards to the left with your left fingertips. Either way, you are displaying the separated queens and aces the spread is held with both hands. Then, your right hand takes the face (at right end) black queen, scoops it under the other two (visible) queens, and tables all three face down. They're black, black, red from top down. (You could, of course, set the queens that way to begin with; then the "scoop" isn't necessary. Jim likes to display them as explained.)
Pick up the packet and hold it face down in left-hand dealing position. Show that the aces and queens have magically mixed (alternate d ) , like this â&#x20AC;&#x201D; flip the top card (red ace) face up; deal it face up onto the table. Flip the next card face up (red queen); deal it face up onto the tabled ace, overlapped to the right. Repeat with the next card (red ace) - deal that onto the tabled spread.
The three aces are still fanned in your left hand. Reverse count them into your right hand - that hand takes the double card, then the AS, then the remaining red ace. Flip the packet face down into your left hand. Talk about the peculiar qualities of aces and queens (or of oil and water); they refuse to mix with each other even when placed that way. (The facedown left-hand packet consists of red queen, red ace, AS, red ace.) Do a clean and open alternate mix on the table, like this: Your right hand shows the top tabled queen and places it face down in front of you. Show the top card of the in-hand cards, really doing a triple turnover to show the AS. (A bottom-card buckle makes it easy.) Turn down the triple and deal the top card onto the first flashed queen. With your right hand, remove and flash the (now) top queen of the original tabled packet and place it onto the packet you're forming. Flip the top card of the in-hand packet face up -- red ace -- cleanly flip it face down and deal it onto the "alternating" packet. Take the last tabled queen - flash it, if you like - and place it onto the alternating packet. Take the double card that remains in your left hand with your right hand, show its face (red ace) and drop it cleanly onto the tabled packet.
Now do a double turnover to show a black queen. Jim uses a double buckle to facilitate the double turnover from four cards. I use my own no-break double lift (QUANTUM LEAPS, page 19). If you have to, you can spread off the two top cards, the third card is a double, as you say - "three cards left." As you square, get a break under the two cards; then do the turnover.
Okay; sidejog the face-up double card as you turn it face up to show the black queen. Grasp it at its right long side with your right hand, and do the KM "loading" move as you deal the queen onto the tabled spread. The left hand does a wrist turn as your left fingers pull the rear card of the double back onto the packet. (Fig. 1 shows this in progress.) As you do the move, a queen may flash at the packet's face; that's all right since a queen should be there. Deal the (now) single queen to the tabled row.
So far as your audience is concerned, you have simply alternated the aces and queens. Now press down on the tabled packet with one finger for effect. Pick up the packet, flip it face up, and spread/display it exactly as you did at the start. The aces and queens have separated! (The AS has changed position, otherwise all is as at the start.) Repeat the alternating exactly the same way. (It bears repetition. Don't forget to reverse count the aces. And the AS will be the last, in-hand, double card.) Spread to show the separation again. (The AS is back to position now.)
Flip the next card (AS) face up; deal it onto the tabled row. A double card (two queens) remains in your left hand. Take the double card with your right hand, show the queen - put a slight side-to-side upward bend in the double as you do, to help the two cards stay aligned and drop it to the right end of the tabled row,
As the cards are spread after the repeat, say that you'll demonstrate something unusual. With your right hand, take the three queens as â&#x20AC;˘10881
back of the ace that's beneath the face double card (AS, in the last illustration). And as the spread closes push that ace to the right in a side-steal action; your right hand covers all. As the spread squares do a one-card middle pass of that ace to the packet's rear. (There are two one-card middle passes in the above-mentioned book.) That's how Jim does it; it's fairly easy with a small packet. I prefer to clip the card's outer right corner between (at the fork of) my right third and fourth fingers - almost in a lateral palm - and simply slide it out and to the rear. (Fig. 3 shows this happening.) Again, your right fingers cover all.
or spread. You've cleanly shown the magical alternation. Leave the alternated spread for a beat or two - let the effect register. Then, slowly gather the spread. Now, the finale - a visual separation of the alternated aces and queens. As you talk about the aces and queens being mixed at the moment, but that they won't stay that way very long, do Ken Krenzel's Pressure Hideout (CARD CLASSICS OF KEN KRENZEL) to display the six alternating cards once more. Briefly: Your left forefinger is at the rear of the face-up packet as your right hand pressure fans the cards. That forefinger controls the number of cards that fan. In this case, five cards are allowed to fan or spread. The face black queen is a double card. (Fig. 2.) If you can't do this (it's described in detail in the above-mentioned book), you'll have to spread out five cards from the rear (to the left) with your left fingers. (Or, as you pick up the tabled spread and square it, get a break under the top double card. Then, it's easy to spreaddisplay the alternating cards again.)
Press down on the face-up packet - your magical gesture - and immediately spread exactly as at the start, to show the separated aces and queens! Afterthoughts: Done cleanly, the ending is strong^ as is the rest of the routine. Obviously, I had to break its continuity to describe the moves, alternative moves, and so forth. Go over it again now; you'll see how smoothly it "flows."
Close the spread but, as you do, your left fingertips - beneath the spread - contact the
David Regal
Closing Okito
|his is the result of-two minds trying to solve a problem. Peter Kougasian came up with the effect idea - the challenge: At the end of an Okito Box routine, the box and its four coins are placed on the back of your hand. The box penetrates your hand; the coins stay put. This, to be accomplished using only one standard Okito Box. Here's David's solution and handling. It should be done, of course, after your Okito Box routine - when the box has lost its "strangeness" to your spectators. It's done quickly, but without rushing - the timing is important.
cleared the mouth of the palmed (mouth-down) box by an inch or so, clamp your right thumb onto the 4-coin stack. The coins must not move (no noise), and about a third of the lid projects beyond your right fingertips. The lid is in position to be "straddle" palmed, or pinched, between your right first and fourth fingers. (Fig. 3.) All this, of course, has been "shaded" by the back of your left hand.
You've just finished the Okito Box routine; your spectators should be relaxed - they don't have to watch that closely for the next few moments. If the four coins are not already in the box, drop them in, slowly and deliberately - or let a spectator do so; place the lid on the box. Okay; holding the covered box with your right fingertips, place it onto your left palm, at Classic-Palm position. Make it look as if you're placing it on your left palm only to display it for a beat or two. Then, with your right fingertips resting on the box, turn over your left hand - palm down. Your right fingers remain on the box, right hand turning palm up. (Fig. 1 is a stop-action view.) No pause here in performance. And, it's important that the (now) lid-down Okito Box is level; i.e., it is parallel to the tabletop. Your left hand should be as open, and flat, as possible. Your right hand lowers, thereby lowering the lid of the box and the four coins (the box remains Classic Palmed in your left hand). The coins must remain perfectly stacked, resting on the mouth-up lid. (Fig. 2.) Now, your right thumb plays an important part. As soon as you can - when the coins have
Now, display the box(?) with your right hand! Like this: Bring the hand up to in front of your right shoulder; your palm is toward you. Your spectators see the brass (of the lid) protruding from your right fingertips. The coins are hidden behind it. (Fig. 4.) It's a one-beat display. David sometimes points to the box(?) with his left forefinger. Make sure the box(?) is seen at the right fingertips. Your spectators have time only to register that the box is there - by that time, the penetration is taking place.
â&#x20AC;˘1089-
Just after the one-beat display bring your right fingertips over the back of your back-up left hand placing the edge of the lid and the edge of the coin stack against the back of the hand, and press downward. (Fig. 5.) Your right fingertips slide down in the standard "penetration" action as, at the same time, your left hand relaxes to allow the (left-hand) palmed box to fall to the table. As it falls - "Sometimes the box actually goes through my hand..." As your spectators follow the falling box, your right hand moves the lid and coin stack from perpendicular to parallel (flat against) position on the back of your left hand.
Remove your right hand, straddle pinching the lid. It's held between the sides of your first and fourth fingers. This, of course, exposes the coins - "...leaving the coins behind!" The coins remain stacked on your left hand as your right hand (lid hidden in straddle pinch) moves down toward the fallen box. The coins will sometimes slide off the back of your left hand. If they do, try to control it so that they fall "gracefully" to the table. Your spectators' attention is on the coins as your right hand picks up the "penetrated" box and displays it with the lid. Your left hand picks up the coins and displays. No one has yet noticed that the lid did not fall with the box. A second or two after that fall, your right hand is displaying both box and lid - and it all happens too quickly for anyone to catch the discrepancy. Afterthoughts: Although it all occurs in a fairly rapid rhythmic pace, don't rush it; it's a short piece of business to begin with. Try it; it's a surprising and magical ending to one or two Okito Box routines.
Seth Kramer
An Instant Card(s) Vanish
I know that this is something that needs to be seen in order to be appreciated. I also know that when you read it you'll feel that it is something with which you cannot get away. Seth, however, uses it two or three times during his close-up performance - and fools people with it. It's also something that laymen (and magicians, probably) remember.
Afterthoughts: Your right hand can either rest "on the ribbon spread for an instant and then move away - empty; or, as I prefer, gather the spread as your left hand does its work. It will work as well with one card as it does with four. Done correctly, with proper timing, and at the right time during your performance - it looks good. It looks good when Seth does it!
In appearance - and it happens too quickly to appear any differently - a card (or cards) disappears as you hand it (them) to a spectator. Assume that you've just done a 4-ace routine, the end of which is to ribbon spread the facedown deck to expose the four face-up aces at center. As you bend over the tabled ribbon spread, remove the aces, square them, and hold them face up in your (palm-up) right hand, as shown in Fig. 1. (Note that the packet is held at its ends, and up near the fingertips.) There are no perceptible pauses in performance. Slap down on the aces with your palm-down left hand as if taking them. (See Fig. 2.) No pause. Act as if you're taking the cards, of course. The cards fall down against your right palm as your left hand does this. And, two actions occur simultaneously. Your loosely closed left hand moves up and toward a spectator to your left - as your right hand turns palm down moving to the right end of the spread - depositing the aces! (See Fig. 3.) Your left hand, obviously, hands nothing to the spectator, or crumples its "cards" to nothingness. I doubt that it's necessary for me to mention that your attention is to your left anywhere but on the ribbon spread's end. That's it; the actions are pretty much standard, but used differently here. The entire thing is done rapidly - no pauses. It all takes about one second. â&#x20AC;˘1090"
Ellipses (...) do hope you like oil-and-water routines, since there are three of them in this issue. They're excellent magic; so are the two Okito-Box ideas, the Matrix Intro, etc. After the routines were set, I received an "addenda" from John McClure. As mentioned at the end of step 2 of his routine, laymen may grab for the cards at that point because they want to see their backs. That can be disruptive. He has changed step 3 slightly to enable you to show the backs immediately. At the end of step 2 table only the face-up, spread, black cards to your right. Immediately square the in-hand red cards, flip the packet face down and do an Elmsley Count to show four red backs. Hold the packet "low" in the left-thumb fork. Your right hand picks up the tabled 7S and uses it to scoop up the other three black cards...your left fingers can assist. And flip the black-card packet face down and Elmsley Count to show four blue backs. Yes, Elmsley the "blue" packet while the "red" packet is still in your left hand. It's not difficult and it looks good (and casual). I've mentioned the idea before...in a Phil Goldstein routine. Use the blue packet to flip (lever) over the red packet. The blue packet falls face up onto the (now) face-up red packet. Spread the eight cards to display. As you square, prepare for the Rollover Switch...continue as in the text. I think both ways are good. ***
From a subscriber: "Enclosed is $$. Please send me another copy of Apocalypse (issue so and so). My postman got hungry and ate the first one! At least it looks like he ate it down to the teeth marks." And that's after a postage increase! *** Alan Alan is one of many who loved Tony Lopilato's Linking Ring Spin Flourish (Apocalypse; April, 1985). But, instead of using a rubber band he uses his "dual control"... as I described it in Tarbell #7 in Alan's Rising Card on page 108. If you know "dual control," you will know what I mean when I say that Alan keeps the loop of the invisible thread over his thumb as he does his linking ring routine. It's ready for use whenever he wants to use it. And, he spins two rings a la Linking Ring Spin Flourish. All you have to do is set the invisible thread loop properly, and it twists (as does the rubber band in the original version) as the ring(s) is displayed. Alan keeps the key ring over an arm when he does the flourish. Some care must be taken, of course, when you spin two rings at a time. Again, if you know "dual control" you may want to try this. Alan uses it often, now. Reminds me...some time ago I wrote Alan's definition of "misdirection." He said that misdirection "is the initiation of a train of thought." Well; he's updated it simply by pluralizing, and it is more to the point. Misdirection is the initiation of trains of thought. Another piece of his performing psychology, which he took the time to explain to me clearly when he called me from London (England, that i s ) , is that a magician's manner or attitude should be such as to make his audience expect that something magical is about to happen. Your mien should convey that feeling. Then, what follows does not have to be proof (the magician has no need to prove anything)... it must only confirm the spectators' expectations... and/or totally confound their expectations. Agree? -
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On the bottom of page 1037 of the March, 1985 issue of Apocalypse, I talked about a clockchime riddle or puzzle. I could only come up with the answer 5, but the "given" answer is 6. I expressed my confusion. Well, I received quite a few letters and postcards from readers. About a third couldn't care less! Another third is just as confused as I am. Most of those in the final third came up with the same reasoning to arrive at 6. (One of that group is a professor and head of the Dept. of Engineering-Economic Systems at Stanford University - he must be right!) The idea is to assume that the actual time for each strike is zero. And, that there's two seconds of waiting time between strikes. That's it; it takes 6 seconds for the clock to strike four o'clock.
The good ol' "keeper of the ethics" has done it again. He's still the master of the big lie. Scream, holler and rant about how others expose, steal - do all sorts of terrible things., while you're doing just those things, and worse. This "beauty" has done a book for laymen, giving away good magical principles. He, as usual, credits only his friends. He teaches my 8-packet criss-cross display of face up-face down cards plus my idea of that extra half turn (right out of QUANTUM LEAPS; page 137) for a Triumph effect....no permission from me, certainly, and not a hint of a credit. And, he's the "lovely" who has lied for almost 20 years now that I did not credit someone for an idea even though that "someone" has publicly announced that I certainly did credit him, and that the one who did the lying, cheating and not-crediting is the "pretty" I'm talking about here. If you Kan't Fathom who I mean, forget it...it's...he's...not important. Just makes me feel better to speak out. •
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Double "Pancake" Revelation (Apocalypse; February, 1985) is very good. If you haven't given it a try, you're missing out on a terrific piece of card magic. The inspiration was my own Salt-Less, out of CLOSE-UP CARD MAGIC. (Which "ain't bad" as is.) Problem is - I've been told that Magic Christian of Vienna (Austria, that is) had a similar variation (also inspired by Salt-Less) in his 1972 lecture notes and in Genii Magazine, April 1973. He called it SaltlessPass. He used a "bridge" (as did I in Salt-Less) instead of a crimp, as in "Pancake." I haven't had the opportunity to check it out - but a mention here is better than a kick in the head! J. K. Hartman wasn't aware of the similarity either. As a matter of fact, he writes..."J. Gordon O'Genski's Double 'Pancake' Revelation is great fun to play with and perform. Another way of using the basic idea is this. Control a selected card to the bottom of the deck. Obtain a break above the lowermost 10 or 15 cards and half pass that block to face-up position (still at bottom; I prefer The Christ Twist - see BEST OF FRIENDS, VOLUME I, page 509). Set the deck on the table, square the sides; ask a spectator to do the same, if you like. "Now pick up the deck and execute the 'pancake' flip. The deck will break (separate) between the faced sections, and the appearance is that it has magically cut itself at the selected card. In other words, the reversed block acts as does the crimp in the O'Genski description. Generally, the face-up section will land some distance away from the face-down (larger) section. On occasion, however, for reasons inexplicable and uncontrollable, the face-up section ends up on top of the face-down section, lending even more credence to the suggestion that it represents the upper portion of the deck." (I think Magic Christian, as per the above, caught the deck in one hand...the portions transpose invisibly... therefore, the selected card comes to the top invisibly.) *** Well; it's impossible to stay on top of everything. (Edward) Mario's Magazine Volume 5 (1984) is top quality (and quantity). Lots of really good stuff (as is his stuff in BEST OF FRIENDS, VOLUME II!) But in the Convincing Control section (on page 117) is a card steal and/or control. It's my own Lorayne's New Fan Steal, out of AFTERTHOUGHTS. I brought this to Ed's attention...he concedes the sleight (or "move") to me...not in print, unfortunately. Anyway, the move is terrific if I say so myself. Check it out. *** And....the last word on Tidal Wave (Apocalypse; May, 1983)...I hope it's the last word I've done columns talking about credits (see my Ellipses[...] in the December, 1983 issue, and see Allan Slaight's Third Wave in the December, 1984 issue). According to a reader from Copenhagen (Denmark, that i s ) , the idea of dropping a deck down a sleeve and bringing it out as if it's a different deck, etc., "originally" appeared in a booklet published in 1953, called Super Premonition, by Dlr. Hans Trunk. The booklet is in German...I have a copy but I can't read it. Hans Trunk was president of the magic club in Vienna. Hofzinser is mentioned in the booklet in connection with the idea...and my Danish friend tells me that Ronald Wohl (Ravelli) marketed a similar idea some years after that pamphlet appeared. I put quotes around "originally" a moment ago because, in my December, 1983 Ellipses(...) I went back to a Grant item in 1938. It goes on and on and on...but it won't anymore - not in these pages! *** I dislike perfection, so every once in a while, I throw in a little error! (That's a joke, son.) There's a slight mistake (mine) in Jerry Deutsch's "Watch" The Bill/Cup on page 1064 of the May, 1985 issue of Apocalypse. Look at the illustration (Fig. 1) on that page. The coffee cup should be tilted the other way, mouth toward you, not toward spectators. The third and the fourth sentences immediately after the illustration are incorrect; they should read, "Table the pen, then use both hands to tilt the cup forward (Ed. note: not backward). You see the bill, but your spectators do not." If you keep reading the original, you'll see why this correction is necessary. You're pretending that the bill is not under the cup when it really is. *** Finally... boy! I've a lot to get off my mind this month...in the March issue of Apocalypse I ran The Witchdoctors Club By-Laws. My march issue reaches subscribers in February, it's mailed at the end of January, brought to the printer in November, and possibly written as far back as July of the preceding year! There must be a leak in my typewriter! Because â&#x20AC;&#x201D; the same columnist I spoke about in last month's issue (page 1080) re: Bottom-Deal Dodge, did it again. His column in the March/April issue of his magazine is the same as my March issue column. And, that issue (his) doesn't see the light of day until mid-March. Must be a leak in my office somewhere!
All
All
is published every month by Harry checks are to be made payable to Harry
Lorayne, Lorayne,
at: 62. Jane St., New York, N. Y. 1001k. and mailed to him at that address.
Individual issues - $3-50 each Overseas subscription - $k3.50 surface mail Subscription - $36.00 per year (U.S.A. dollars only) - $51.50 air mail back issues - $3.50 each, plus pstg. $5k.5O airmail to Australia, Japan, So. Africa, Canada & Mexico - $U2.50 surface mail.
1092
etc.
Lofayne's VOL 8 NO. 8
$3.50
AUG., 1985
pocaiypse COPYRIGHT 1985 by H. Lorayne, Inc.
ISSUE NO. 92
â&#x20AC;˘ M i c h a e l uses this in his table-hopping close-up performance. It is loosely based on On Business Cards, from Sex And The Single Magician (1974, by Jim Magus - a Micky Hades publication). The effect is that of a magical "printing" onto a blank (on both sides) card. Your hands are clean at the end, nothing smacks of "gimmickry," and you don't have to destroy or write on your business card. No trick and/or buildup is necessary; the magical printing just happens and you can do it at any time during your performance. Michael uses it at the end, usually giving his business card to the person who has just tipped him. You'll need a vinyl card wallet - you most likely have plenty of 'em - the kind in which packet card tricks are packaged, and some magician's wax. Fun-Tac is fine; in Europe the name is Blue-Tac (France), or Typutz. You'll also need two blank (both sides) cards the size of your business cards and, of course, a few of your business cards. Preparation: Open the wallet and place all but one of your regular business cards, printed side down, into the left compartment. Michael puts one of the double blank cards onto these. This is to assure that no printing at all shows through. If your cards are opaque (thick), then
1093
it isn't necessary. Up to you. The remaining double blank card goes into the wallet's right compartment. The point is that it appears as if you have a business-card wallet full of blank cards .
moves back onto the wallet. Two things happen simultaneously now. Your left hand shows both sides of the blank card as your right hand secretly readies the hidden card for the switch. Like this:
Close the wallet. Put some wax on the center of one side - the side that holds the single blank card. The wax should be flattened of course, and perhaps about half an inch in diameter. (Experiment.) Attach the one regular card to the wax, printing facing correctly and outward, and so that the top long side lies parallel to, and about a quarter of an inch away from, the spine of the wallet. (Fig. 1.) Place the wallet into a pocket (the breast pocket is fine), the affixed card toward your body. You are ready to go.
Your left hand casually shows both sides of its card, then hands it to the person who tipped you; say, "...I don't think you can even see where it was printed. Can you read it at all?" This is a good psychological point; you want the card to be examined without calling specific attention to that fact — or to the fact that you're about to do any magic. At the same time, extend your right second and third fingers (under the wallet) all the way to the spine of the wallet, as your forefinger curls so that only its nail touches the card at the card's right long side. (Fig. 4 is a worm's eye view.) Immediately grasp the top of the card (left long side) with your extended second, third and fourth fingers and pull it back until you feel it come free of the wax. Your forefinger keeps it in place. (Fig. 5.)
Presentation: As a rule, Michael uses this only when he's tipped (or when he's specifically asked for a card). Say, "Thank you; you've been a wonderful audience. Here, let me give you my card." He feels that this is an important remark. You're thanking your audience and doing an extra bit of magic; it leaves a favorable and lasting impression.
6
With your right hand, remove the wallet, being careful not to flash the attached card. End the action with the wallet held between the right thumb and open fingers. Your fingers, of course, rest on the hidden card. The wallet's spine (closed side) is to your left. (Fig. 2.) Open it with your left hand, fingers grasping at the inner right corner — your right thumb lifts then moves down onto the clear plastic of the right compartment. (Fig. 3.) Your spectators see all blank cards. Act a bit perplexed, and say, "Wait a minute; this is the last batch of cards I had done - they obviously did not turn out too well..."
8 Take back the blank card with your left hand and look at it. Then look at the person who had the card, gesture toward him with the card, and ask if he has a pen so that you can write down your name and number. It's during this remark, as you're looking at the person, that you switch your regular card for the blank. The switch, which is a fairly standard concept altered to fit these particular circumstances: You're holding the blank card between your left thumb and first and second fingers at its outer left corner area. (Fig. 6.) Casually insert the
Your right hand continues to hold the wallet as is (pressing lightly to assure that the hidden card remains affixed) as your left hand releases its side and inserts its forefinger and second finger under the right side's blank card in order to remove it. As you remove it, a "flick" of your right hand/wrist closes the wallet (left side flips over onto right side). Your right thumb gets out of the way, then it •1094-
preclude any possibility of anything being hidden under it.")
blank's right side between the wallet and the hidden, bent, card (Fig. 7) and, without pausing, release with your left thumb as you push the blank all the way beneath the wallet. (See Fig. 8.)
Hold the blank-side-up card on your fingers and do the standard through-the-fist (or hand) flourish. The card comes out still blank side up. (This flourish has been described in Apocalypse a number of times. I don't think it is necessary to fill space in order to describe it again. ) As you do the flourish, and if one person is holding a pen, you can say, "As I do this, wave the pen over my hand." (Of course, when you do it the first time, the card is kept on a horizontal plane as it's removed, so as not to prematurely expose the printing.)
Immediately place your left thumb onto the wallet - press it between that thumb and your left second finger, which affixes the blank to the wax! Within the same motion, your left hand moves the wallet to the left - away from your right hand. This brings the right-hand facedown (don't flip it over; simply hold it as is) regular card into view. It is held between your right thumb and first and second fingers. Your left hand casually tosses the wallet onto the table. Then, immediately pantomime writing over the right-hand card with your left fingers.
In any case, do the flourish again, this time you're holding the blank-side-up card on your palm. This automatically turns over the card; the printing is exposed as the flourish ends. It appears as if the printing happened as the card moved through your hand. And, doing it the first time (when nothing happens) reinforces the magic that occurs the second time!
It's a matter of a tiny fraction of a second, an "in-out" movement, and it's done casually as you ask for the pen. It's important for you to look at a member of the audience as you do the switch - for the bit of misdirection you need. If you see that a member of the audience is actually going to get a pen for you - wait until he reaches for it - then do the switch. Again, do it casually and immediately after the gesture toward the "tipper" with the blank card and, of course, follow up with the pantomime of writing with your left fingers. ("Never mind the pen; I'll do it by magic," or "...I'll use the pen as a magic wand.") The reason for tossing the wallet to the table is to free those left fingers, of course.
Spin the card out of your hand on a horizontal plane, as mentioned, so that the printing properly faces your spectators. Drop the printed-side-up card (deliberately, slowly) to the tabletop in front of the "tipper;" finish with your hands palm up. Afterthoughts: The clean-up is as simple as can be. Pick up the wallet and pocket it. In Michael's experience, no one ever asks to see the wallet. A second's worth of preparation, and all is ready for the next table. Obviously, the switch handling described can also be used for a card-to-wallet effect, in which a wrong card changes to the right (selected) card. The business-card idea and effect is, I believe, much more commercial for table hoppers.
(Michael says - "Please resist the temptation to put the wallet into your pocket. That will always attract attention, which is what you don't want to do at this moment. As a bit of finesse, I give the wallet a slight spin as I casually toss it to the table; this seems to
Apocalypse Variations or Additions There's been quite a reaction to Yoshio Hirose's The Invisible Hole (in the March, 1985 issue of Apocalypse). It's one of those things that "gets around" very quickly. It's easy to do, and it's a strong effect. Lenny Greenfader uses it all the time. (His way of instantly preparing a borrowed bill for the impromptu method is mentioned in the March, 1985 issue. If you don't have that issue, I'd suggest you run out and buy it so that you will know what I am talking about. If you do have that issue, you know what I'm talking about, because it isn't the kind of effect one glosses over or passes by.) Lenny has added one other "touch;" a bit of handling or presentation. At the point where you ask your spectator to push the pen or pencil completely through the $1 bill and the paper, your thumbs press hard against the outer paper and toward, or against the sides of, the pen. (Look at page 1038, last paragraph - and also look at Figure 1 on that page.) This makes it difficult for the spectator to push the pen all the way through. Say, "You have to push that through two layers of paper - so you'll have to push harder." This locks in the fact(?) that the pen is going through the paper and the bill. As your spectator pushes again, relax your thumbs, allowing the pen to penetrate. Continue from there. (Watch for Mike Bornstein's Enlarged Invisible Hole, which will appear in a future issue. It does not use a pen or pencil.)
PUBLISHED, WRITTEN, EDITED:
Harry ILLUSTRATIONS:
1095
Robert E. Lorayne
Shigeo Takagi
Wilder Cards
g t o overcome the Language barrier, this was put out with only the drawings of Ton Onosaka - over 50 of 'em. The pictures taught the routine. Well, up to a point; I'm afraid words are still needed to teach a complicated routine properly. It's a lovely, smooth-moving, magical routine - using 7 cards instead of the standard 9. (We all know that the original wild-card idea and routine belong to Peter Kane.) None of the moves are difficult; what you have to work toward is smoothness each move should blend fluidly into the next. You need 4 alike double-faced cards; let's assume that yours are joker on one side, 2H on the other. You also need 3 regular 2H's. In effect, during the routine, 6 jokers all change to 2H's. Set-Up: The 4 double-facers, jokers up, are on top of the 3 face-up regular 2H's.
your working surface. Table the face-up (lefthand) joker behind (south of) the face-down card. You've not shown the face of the facedown card, but - do the actions smoothly, and your spectators will think that they see jokers throughout. 2. Repeat all of step 1 with the in-hand cards, tabling the cards to the left of the first two; this brings you to the situation shown in Fig. 2. 3. There are 3 cards in your right hand. Do the Flushtration Count/display to show three backs as you stepped-to-the-right peel them into your left hand. Briefly: Turn your right hand palm up to flash a back. Turn it back to position as your left thumb peels the face joker onto your left hand. Repeat. Flash the back of the last card, the 2H, and place it onto the two left-hand jokers. Pause to display.
4. What follows is a standard "double-face turnover" switch, done in your hands. The right hand takes the 2H, thumb on top and fingers below (Fig. 3) and scoops it to beneath the upper left-hand joker. (Fig. 4.) No pause. Turn your right hand palm down, turning the 2 cards over onto the remaining left-hand joker, as your left thumb peels (or your right fingers push) the upper right-hand face-down card onto that left-hand joker. (Fig. 5.) Move your right hand away with its remaining card - a 2H. To Perform: 1. Your right hand holds the face-up (joker showing) packet from above. Your left thumb peels the top joker into your left hand. As it does, your right hand turns palm up - its cards face down - and your left thumb peels the (now) top face-down card onto the first peeled joker, in stepped condition. Turn your right hand back to position. (See Fig. 1.) Move your left hand to the table thumbing this face-down card to the upper (northern) area of
5. Your left hand places its two cards to tabled row position, to the left of the already tabled cards. (Fig. 6.) This opening, tabling, sequence takes only a few seconds and, done smoothly, leaves the impression that you've shown 6 jokers and tabled 3 face down and the other 3 face up. (Fig. 7 is the present situation.) You're ready to start your "magic." 6. With the right-hand face-up 2H, scoop up the center card of the face-down row. (See
â&#x20AC;˘1096'
9. Do a double turnover (up to the break, or bottom-card buckle) apparently turning the top joker face down. Fan the 3 cards; all looks as it should. Your right hand takes the top face-down card and "runs" it between the two face-up 2H's as a magical gesture; Shigeo runs it to the right, then back to the left. (See Fig. 15.) Remove it and turn it face up to show that this joker(?), too, has changed to a 2H. Table this 2H to top center, and slightly above the tabled cards. (See Fig. 16.)
Fig. 8.) Turn your right hand toward you, palm down, turning over the two cards and doing the in-hand turnover switch into your left hand. I.e., your right fingers push the upper card (joker) into your left hand as your right hand holds onto the lower card (2H). The right-hand grip is altered so that you're holding the 2H thumb above, fingers below. The left-hand card is a joker-up double-facer; the right-hand is holding a regular 2H. (See Figs. 9, 10 and 11.) 7. Use the right-hand 2H to scoop up the center, tabled, face-up card (Fig. 12) and do the in-hand turnover switch into your left hand (onto the face-up joker) just as described in step 6. In appearance now, your left hand holds a face-down joker on a face-up joker and your right hand holds a face-up 2H. It's all quite convincing. After the switch, alter the righthand grip on the 2H, as explained.
19
8. With the right-hand 2H, flip over the left-hand's top, face-down, card - it has changed to a 2H! (Fig. 13.) Take this changed card, a 2H, onto the right-hand 2H and place the remaining joker onto both. (Fig. 14.) Square the three cards, getting a break above the lowermost card as you do. (A bottom-card buckle will easily take the place of the break.)
10. The two in-hand 2H's are held one in each hand and, using both hands simultaneously, scoop up the two tabled face-down cards with the two deuces. (Fig. 17.) In a continuing action, both hands still working simultaneously, the pair of cards in each hand is turned over (toward you) end for end to bring jokers into view. (Fig. 18a, b, c; one hand doing the turn.) Thumb the upper card of each pair (jokers) back onto the table. (Fig. 19.) You've switched out two cards in a smooth and imperceptible manner.
16
17 11. â&#x20AC;˘1097'
Again,
working
simultaneously, each
hand uses its face-up 2H to scoop up the tabled face-up jokers closest to you. Do the inward turn of both pairs of cards as in step 10, Figures 18a, b, c, which accomplishes the double switch-out. After the end-for-end turnover, the upper (face-down) card of each in-hand pair is dropped onto the table. (See Fig. 20.) 12. Place the right-hand 2H onto the lefthand 2H in stepped-to-the-right condition. With your right hand, pick up the two tabled facedown cards and interlace them with the two 2H's as in Fig. 21. Square the sides of the 4-card packet; the two 2H's are out jogged. Hold the packet in left-hand dealing position. (Fig. 22.) Apparently turn over the packet, but really do Francis Carlyle's False Turnover move. Your hand starts to turn palm down and your thumb moves under the cards and pushes to the right. This keeps the upper side upward. (Just look at Figs. 23a, b and c.) 13. Keeping your left hand as is (last illustration) , your right hand grasps the extending face-up 2H's and strips the pairs apart. (Figs. 24a and b.) Place the right-hand's 2H's onto the table (nearer-you part of the layout). Snap your right fingers, if you like, as your left hand turns over to show that its 2 jokers have changed to 2H's! 14. Take one of these 2H's with your right
25
A •
26 • V
• V A .
V
' V
hand and use them, hands working simultaneously, to scoop up the last two tabled jokers and to do the end-for-end turnover switch-outs as taught in step 10; Figures 18a, b, c. This time don't simply drop the upper two face-down cards (after the turnovers) to table position. It's prettier if you thumb them off partially, then flip them face up with the two face-up 2H' s. (See Fig. 25.) 15. That's the end, but move your hands toward you in order to drop the 2 in-hand 2H's at their respective ends of the nearer-to-you row. This makes for a pretty end display. (Look at Fig. 26.) Afterthoughts: The illustrations are all by Ton Onosaka. This is the kind of routine that could easily be sold over the counter, with a set of seven cards, for anywhere up to $15.00 - or more. As an Apocalyte, it cost you much less than $1.00! Obviously, you'll have to go over the routine quite a few times - until you're familiar enough with it to make all the actions blend smoothly, one into the other. Then, it's a notlong, lovely, routine. It can be done with little or no patter - or to music! Use any cards, of course, not necessarily jokers and 2H's. Whatever you use, it's a pretty and pleasing few moments of magic!
Double The Tip
BOB FRIEDHOFFER |here' s very little new under the sun. Just about every "new" idea is based on something that came before. This is obviously based on an existing idea. Yet, it can be considered an original concept. The existing idea is the gaff that every magician has used, or uses, at one time or another - the thumbtip. The thought that can be considered original is - to wear two thumbtips on one thumb, one on the other! Think about it. Now "A" can be changed to "B" magically and easily, so long as A and B are things that can fit into a thumbtip. I'll mention a few things that can be changed to other things in a moment, but first - the basic idea. Let's assume you want to do a color-changing paper (ball) effect. You'd have two small pieces of paper, one is white, the other is, say, black. Crumple each into a small ball. Now place one thumbtip onto your right thumb. This is the inner thumbtip - closer to your thumb. Load the, say, black paper ball into the second
thumbtip and place that onto the first thumbtip. This is the outer thumbtip. (Fig. 1.) The white paper ball is on the table; or just the flat paper is - you can crumple it, or have a spectator do so, when you're ready to do the trick. Now; Figure 1 shows the nested thumbtips already on your right thumb. In "real life," the nested thumbtips (black paper ball in the outer one) would be in your right jacket pocket (or wherever you want to steal them from). They will remain nested. I've tried all different combinations of thumbtips; all work just fine. Experiment. You may find it more comfortable to use a Vernet as the inner and metal tip as the outer, or vice versa. Or - two Vernets or two metal tips, or whatever. Okay; when ready, steal the nested thumbtips onto your right thumb. Sure; you have to be a bit more careful than when you're using only one thumbtip. You can still flash empty hands but, generally, keep the tips hidden behind your fingers. (See Fig. 2.)
-1098-
Your left hand is shown to be empty. Then, as you close that hand into a loose fist, steal the nested tips into it in the standard way. I have to assume that you can load a thumbtip into your left fist, even if it's nested thumbtips.
nation - there are many items that can be magically changed to other items. Bob likes to use items that'd ordinarily be difficult to hold, like crystals, liquids, etc. You know that you can hold liquids or salt or sugar, etc. , in a thumbtip. Obviously, you have to be somewhat careful; you'd keep the nested thumbtips in the small change pocket of your jacket pocket. Do not do any somersaults!
Just a few of Bob's suggestions: Change salt to pepper; change small dice (or a die) to salt; change red silk (small one) to red liquid - reproduce silk; change powdered carbon(?) to a diamond; knots appear on, or they disappear from, a small length of string; cut and restored string; billet switch; a nut magically threads onto a screw; produce water, then produce a silk; two loose paper clips magically link onto each other; thread a needle in your hand (carefully). When you can prepare just prior to performance, and under certain circumstances, you can magically cause a small amount of water to change to a chip of ice. The ice chip is in the outer thumbtip. Steal the nested thumbtips into your left hand. Pour a little bit of water into your left hand - into the upper, empty, thumbtip. Steal it onto your right thumb. Dump the ice chip out of your left hand. Steal the lefthand thumbtip back onto your right thumb; the thumbtips are nested again. You'd have to be in position to ditch the thumbtips without spilling water too obviously. (See Afterthoughts.) It's all pretty obvious now. Your right fingers pick up the visible white paper ball, or openly crumple the white paper into a ball, and openly drop it into your left fist, via the thumb/forefinger opening. It goes into the inner (empty) thumbtip, of course. (Do not get confused with terminology here. The original inner thumbtip is now uppermost - opening up in your left fist.) Your right hand is clean at this moment. Do the usual "maneuvering" - your right thumb entering your left fist (as if to push down the white paper ball) and stealing only the upper (original inner) thumbtip onto your right thumb. This leaves the original outer (it is loaded with the black paper ball) thumbtip in your left fist. (Fig. 3 is an exposed view showing the situation at this instant.) Magically wave your open right hand over your left fist, then turn over your left fist, dumping out the black paper ball! (Fig. 4.) The trick is over. Steal the left-hand (original outer) thumbtip back onto the right-thumb original inner thumbtip - again, as you'd ordinarily do. (You could, of course, get rid of the right-thumb thumbtip before you steal out the left-hand thumbtip.) The two thumbtips are nested again, back on your right thumb, as in Figure 1. Ditch them just as you would if they were a single thumbtip, at your earliest opportune moment. Immediately, during the reaction to the color change of white paper ball to black paper ball is, in my opinion, the "earliest opportune moment." That's it; that's the basic idea the switch of one thing to another is done within your loosely closed left hand. Use your imagi-
Conceal a tiny pewter sculpture (little ducks and rabbits are sold in some gift or novelty stores) in outer tip. Steal both tips into left hand. Pour some little metal beads or a few small pieces of solder into left hand. Etc. Instant sculpture! Sew two small shirt buttons together. Conceal them in the outer thumbtip. Steal nested tips into left hand. Display duplicate separated buttons and piece of thread; place into left fist (into upper thumbtip). Steal upper thumbtip - left hand dumps out sewn-together buttons. (How about torn and restored thread?) Many street magicians use a thumbtip to cause a small silk to vanish, re-appear, etc. Use this idea to do a color change. A, say, red silk is concealed in outer thumbtip. Steal the nested tips into left hand. Display green silk, then tuck it into left fist, as usual. Steal upper tip (with green silk) onto right thumb. You can ditch this thumbtip as you patter. Then right fingers pull red silk out of left fist. End here - steal and cover left-hand thumbtip into and with red silk and pocket all. Or, poke red silk back into left fist - and make it disappear !
Afterthoughts: And on and on. It's a good idea. The tips can be worked from a handkerchief, if you prefer. For the water to ice chip idea: Tuck a crumpled piece of soft tissue into the inner thumbtip. This will absorb the small amount of water you pour into that tip! Same effect; just makes it easier to clean up. And, I like to drop an "unstruck" paper match into my left hand, magical gesture, and dump out a burnt match! Or vice versa. You can also restore
â&#x20AC;˘1099'
a broken rubber band.
You could pick up the item with your right 1st and 2nd fingers. Then, load the right thumb's thumbtip into your left fist, into the first thumbtip. Dump out the "changed" item. Steal the nested tips out of your left hand. This is not as good as the method described in the text.
There is, of course, another way to handle it. You can have your load in the inner thumbtip. Then, for performance, steal only the outer (empty) tip into your left hand. The loaded tip is still on your right thumb. Then drop the visible "thing" into your left fist. The problem here is that it'd be a bit awkward to do this with a thumbtip still on your right thumb.
Father Cyprian
a
Finally; you can use two fingertips on finger instead of thumbtips on your thumb. Have fun!
Untilt
I'm sure other uses for this will be found. Right now, I want to teach you the idea, and the one way Cyp uses it. It's the kind of thing that seems so obvious after someone else has thought of it! In effect, it appears (quite obviously and clearly) that a displayed card is being lost to center deck; in reality, it ends up second (or third, if you like) from top. It fits perfectly into an ambitious-card routine, of course - but it can stand alone.
Now, the key to the idea: Before the card is completely "Tilted" - inserted - your right first and/or second fingers push flush the lower card of the double! The upper card of the double shades the movement of the lower card, of course. (Fig. 3. I've tried to show the action by exposing the lower card's inner left corner as that card moves flush. Obviously, in performance, that must not happen - the lower card must remain aligned with the upper card until it flushes with the deck proper.)
And, if you do Tilt already, it's so easy to do. Prepare for a double lift by obtaining a break beneath the two top cards. Lift the double card and display its face by inserting your first and second fingertips into the break or separation at the inner right corner. Those two fingertips are below, your right thumbtip is on top. Turn your right hand palm down (inward) exposing the face of the double card. As you do, your left hand prepares the top card of the deck for Tilt. (Prepare two cards for Tilt, if you like.) I have to assume that you know how to, and can, do that. (Fig. 1 is an exposed, exaggerated, view.)
Name the exposed card, of course - then "Tilt" it to beneath the top card of the deck proper. Use any "pieces" that you'd ordinarily use - like: Push the outer end of the double card into center of the inner end of the deck to gently push a small block of cards out of the outer end (to help "lock in" the fact[?] that the card is going to center deck). Or â&#x20AC;&#x201D; bend the double card as taught in Ascanio's Ambition For Two - Apocalypse; May, 1984. Use the handling you'd ordinarily use, and Tilt that card(s) under the top card of the deck proper. (See Fig. 2. )
As that lower card flushes, remove the upper card; i.e., pull it out of "Tilt" position; keep it face down, of course. And as your right hand removes it your left hand allows the top, separated, card of the deck to fall back, flush onto the deck. (Or - let the deck move up to join the separated card.) Move the right-hand card to the deck's outer end and, as you say something like, "Oh; I'll lose it into the center of the deck here, where you can see it going in more clearly," do just that. Insert it into the deck via the deck's outer end. (See Fig. 4.) That's it; your spectators have seen the displayed card placed (lost) into the deck near center. That displayed card is really second (or third) from top. Go from there. Afterthoughts: If you already know and do Tilt, the only area for a bit of practice may be the "flushing" of the lower card of the double as you partially Tilt that double. (That is similar in concept to the change of a card when a double card is inserted into the deck via the deck's outer end.) You want to be sure that it remains perfectly aligned with the upper card until it flushes with the deck. (As discussed at Figure 3.) I don't think that will require too much time or practice.
'1100-
Mark Lefler
Empty Handed
^ 9 make it a rule to try each and every effect and idea that's contributed to Apocalypse. Often, something that doesn't impress or excite me at first reading will elicit a surprisingly strong response when I try it - that is; perform it - for laymen or magicians, or both. This item was (is) one such.
Flip the coin over onto your palm; it will I should) fall into almost finger-palm position. To perform: Your hand drops to behind your leg (if standing) or under the table edge (if sitting) for a moment. While your hand is out of sight, flip the coin back to behind your hand. Your fingers are together.
In effect - you slowly extend your hand, separating your fingers. The hand is obviously empty. You reach into the air and "catch" a half dollar.
Bring out your hand, palm to audience, and slowly separate your fingers (as in Figure 2 ) . Obviously, a bit of attention must be paid to the angle at which you hold your hand. That bit of attention assures that the coin isn't seen. It's easy; basically, it's straight on. Also, the short piece of tape on the palm side won't be seen from a short distance.
A one-inch piece of transparent tape (it works fine with half inch or three-quarter inch width) is what does it for you. Affix the tape to the coin as in Fig. 1. Then affix the free half inch of tape around the upper side (closer to your forefinger) of your right second finger, between the two joints. (Fig. 2 is the front view; as it would look when you show your "empty" hand to your audience. The dark lines show the approximate position of the tape on the second finger.)
To produce the coin, move your hand updown only a bit sharply. The coin flips upward and your forefinger moves behind it, in a natural action, to catch it. (Fig. 4.) Display the coin. To clean up, just push the coin up and away from your hand between thumb and forefinger. The tape will peel off the coin and adhere to your second finger. Afterthoughts: Of course, you can cause the coin to disappear by simply reversing the "appearance." Move your hand upward as your thumbtip releases the coin; it falls back to hidden position. Mark uses the appearance as an opener although it' s pretty easy to get the gaff into place as you search for a coin, or whathave-you. You'll have to try this to realize that it looks as if you're doing some great sleight of hand! Mark also tells me that this is similar to a John Mulholland idea - except that Mark has added the showing of the empty hand.
If you've done it properly, the top edge of the coin should rest at the upper back of your finger; the coin does not flush against the back of the finger - it protrudes almost perpendicularly, almost parallel to the floor. (Fig. 3 is an exposed view.) The coin does have to be positioned properly - one or two attempts will do it. Once you have the "feel" of the proper positioning, you'll simply attach it correctly each time.
J. C. Doty
Thanks to JH
|he routine is Bro. John Hamman' s; the switch upon which it's based is John Hamman's. Doty's handling is much cleaner if you don't mind using a duplicate ace. Let's assume that you have a duplicate (matching size and back design) AD. When ready to do this effect, secretly get one of the AD's to the bottom of the deck. As you say, "This is my prediction card," turn the deck face to you, remove the face AD without flashing it and table it face down to your right. Say that you'll also use the four aces and start to spread the cards to find them. Up jog (or remove) them as you come to them. They have to be tabled in alternating-color order, the AD is second from top.
Pick them up in fanned condition, thumb on top (back) of fan; tilt your hand so that your spectators can see the ace faces. (Fig. 1; your view.) Re-table the small fan. Ribbon spread the deck as you say that you need another card. Let him select any card and have him sign its face. The signing is important here; you'll lose much of the effect if you don't have it done. (Unless you "load" a matching AD into a borrowed deck.) Gather the spread and place the deck aside. Openly place the selected, signed, card to center of the aces - there are two aces beneath it and two above it. Square the five face-down cards. Reverse count them to show that there are now five cards.
â&#x20AC;˘1101'
Say, "But if I cut the cards like this..." as you reverse count again - like this: Thumb peel the top card into your left hand. Thumb peel the next card but hold a left little fingertip break beneath it. Peel the next card and hold a momentary third fingertip break beneath it. At the moment, you're holding three cards in your left hand, but all three are separated. Peel the next card, then the last. As your left thumb peels the last (5th) card, your right hand takes the top three "broken" cards as a block and "cuts" them to between the two (separated) left-hand cards. (Fig. 2.) This is done openly as you say, "...if I cut the cards like this..." and it's easy to do. Do it "loosely" and easily. Finish the sentence - "...one card disappears; look!"
You're going to show that the selected, signed, card is the one that disappeared, and that you're holding only the four aces. Turn your left hand palm down - its two(?) cards face up - as your hand moves toward you, toward the table's edge. (Fig. 4.) Turn your left hand palm up again as your right hand turns palm down to show its two black aces. Your left hand is near the table's edge. As your right hand shows the black aces and starts to table them face up (Fig. 5 ) , your left thumb lets the single red ace fall to your lap. This can be done as your left hand is turning palm up. (The ace that's lapped is the AD.) And, as your right hand finishes tabling the black aces, your left thumb surreptitiously pushes the top card of the double to the right so that all looks as before. Your left hand moves forward, away from the table's edge. And there are only four cards which you've shown to be the four aces. Your left hand actually holds the selected card on top of the AH. Now, the switch. Both hands approach the prediction card. (Throughout the effect, you should point out that you won't touch that prediction card.) Your right hand takes the top left-hand card and slides it under the prediction card's right long side as the left-hand card goes onto the prediction card's left side. '(See Fig. 6.) Lift all three cards as your left hand turns the left card face up. As it does, your right fingers switch the positions of the two right-hand cards. That is; your thumb pulls the card it's on (top card) to the right as your fingers push the lower card to the left. And, place the left-hand face-up AH beneath the two right-hand cards. (Fig. 7.) Your right hand then turns the upper (to the right) card face up (it's the AD) and replaces it. The red aces are sandwiching the face-down (supposed) prediction card.
You've been pattering about not having touched the prediction card - and, "I still do not want to touch it." Let your spectator remove it from between the red aces. He turns it over to find his selected, signed, card!
Your left thumb pushes off two cards which are taken by your right hand and held in spread condition. No perceptible pause. The left thumb pushes off one more card, and "holds." The two lower cards are held as one. (Fig. 3.) The next step is pretty and easy to do, but the timing won't be easy to explain. That will be mainly up to you.
Afterthoughts: Except for the lapped card, you're clean at the end. It really is a much cleaner way to do it than the original if, as I said, you don't mind the use of the duplicate ace. There's a terrific idea (or two) based on this switch in BEST OF FRIENDS, VOLUME II.
â&#x20AC;˘1102-
Keith "Breen
"Wild!" has happened. You're still holding a blue deck. Actually, it's now the red deck with one blue card (the selected card) on top.
Keith evolved this four-climax "double" color-changing deck/card routine by basing it on two moves. One is a covered deck switch, the other is my own A Card Hop - Apocalypse; January, 1980. The covered deck switch has also appeared in print in a few places. One of those is Mario's Magazine #3; page 113. From what I understand, Gene Maze developed the switch and used it for years. Keith came up with it on his own in 1979. The only drawback to this strong routine is that you have to be seated at a table in order to do the switch.
As you square the deck, obtain a left little fingertip break beneath that top card. Turn the deck face up (using both hands); the break causes the index corner of the top card to step to the right so that you can glimpse it. That's the only reason for the break. (See Fig. 2.) Say that you'll attempt to find the selected card. Hand to hand spread and openly find the duplicate (red-backed) of the glimpsed top (selected, blue) card. Place it face up onto the table. Square the deck, turning it face down - a blue back still shows. Say, "I know you're wondering how I found your card. Easy; you see, it's the only card with a red back!" Flip it face down to show the red back. (First climax.) Turn the deck face up and Tilt the face-up selected card to second from top (face). Turn the deck face down and do my A Card Hop. Briefly (it's described in detail in Apocalypse; January, 1980): As your right hand grasps the deck from above your left fingers buckle the bottom card. Your right thumbtip automatically "breaks" that card. Do a swivel cut to the table. Your left forefinger swivels the top half, which is caught in your left hand. As your right hand moves its half to the table, the "broken" card (bottom card of right half) is dropped onto the left-hand half. Your right hand returns to take the left half, deposits it on the tabled half and ribbon spreads the deck. (If I may say so myself, this is a fascinating full-deck color change. It's instant, visual, and imperceptible. It's, I feel, an overlooked move. In Keith's words, "Used in the context of this routine, it elicits gasps.") It also brings the duplicate of the selected card to bottom.
Basically, the deck switch is a standard gamblers' switch; that is, the deck is drawn off (scooped off) the table with your right hand apparently into your left hand. Actually, the deck to be switched in is in left-hand dealing position beneath the tabletop. Your right hand scoops its deck into your lap as your left hand moves up into view, as if having caught, or taken, the "scooped" deck. What makes it a "covered" switch is that your right fingers hold back the top card of the righthand deck. That card is loaded onto the lefthand deck. That top card never goes out of sight, so it appears as if the deck never does. (Fig. 1 is an attempt at a stop-action exposed view.) You need two decks, matching in size, one red-backed and the other blue-backed. There is no set-up; all you have to do is to secretly get one deck onto your lap. Let's assume that you're using the blue-backed deck; the red deck is on your lap, ready to be switched in. U jJJU««IXET»T«rJi: Have a card selected from the deck (blue) in use; control the card to the top. Table the deck in front of you, in readiness for the switch. Bring any object out of your pocket. This could be a prediction, a wand, pencil, anything (use your imagination). It's needed as a focal point; as misdirection.
Okay; when you ribbon spread just be sure not to spread the few top cards; you don't want to expose the second-from-top blue card. The entire deck has changed from blue to red! (Second climax.)
In action, it should appear as if you bring out the object, table it and talk about it, as you pick up the deck to square it in both hands. It's as you "pick up" the deck that the covered deck switch is done. Remember; so far as your spectators are concerned, nothing
Gather the spread, square, and do a fulldeck Flustration display, like this: The deck is held from above with your right hand. Turn over hand and deck, to the right, to flash the face card (selection). Turn down the deck and "kick" (swing) cut about half the deck into
•1103-
your left hand. Repeat exactly - three times, "kick" cutting smaller packets each time. When you're down to about six cards (the selection is still at face), toss that last packet onto the left-hand cards. Use a side-steal action to retain the bottom card, then drop that onto the deck, and square. You've made it appear as if all the cards have changed to the selected card. (Third climax.) Bring your left hand, and the deck, back to near the table edge. As your right hand moves to the deck's outer end in order to turn it face up (end over end), your left hand thumbs off the top card, lapping it. (This is a good lapping action - it's covered from most angles; but you can lap that top card any way you like. For example; as your right hand reaches for the object you took out before. The deck has to be turned face up as the top card is lapped.)
The deck has been turned face up. Table ribbon spread it, face up. Find the selected card (the original blue selected card), push it out of the spread, leaving it face down. Domino turn the spread to show all the red backs then, flip over the selected card to show that it has changed back to blue! Fourth climax and end! Afterthoughts: Go over the routine; learn it arid" try it - it's a strong one. I believe it's strong for the close-up worker because there's no setting-up to do, no gimmicks, no extra cards - and still brings about such good visual magic. (Fill in your own patter, and your own presentation. ) You are left with an odd-backed card (duplicates) in each deck at the end. As Keith says, "I'm sure that any close-up worker would try to use this to his advantage."
Ellipses (...) good that I don't have too much to say this month - because there isn't much room left in which to say it. I have been hearing some weird stories about magicians or - probably more precisely - I've been hearing some stories about weird magicians. I don't want to mention names...I'm not interested in hurting anyone. These people manage to hurt themselves..magicians who don't supply merchandise for which they've taken money - magicians who simply don't show up when booked to lecture at a convention, and a story about a European magician that sounds like a bad movie script. The post office delivered some copies of BEST OF FRIENDS, VOLUME II that looked as if two saber-tooth tigers were fighting over each. Both lost. I've replaced them, of course. It really is unbelievable, and unconscionable... if the package is insured, time is wasted by myself and the addressee because all kinds of silly questions must be answered on the silly form the post office reluctantly hands me. Then, months go by before they'll pay off...it only takes them a day (or a minute) to chew up a package. It's hardly worth the trouble. If that package is not insured, forget it - you don't have a leg to stand on. A private enterprise couldn't get away with it, the government would be after them. But, I guess, the government protects its own. A supervisor - with the intelligence of lint - told me, with a down-her-nose look, "Why should you expect compensation if you didn't insure?" I told her what she could do with her compensation...I told her I simply wanted my packages delivered in somewhat recognizable condition - for which, I feel, I'm already paying enough. Her nose went "upper," and her look went "downer;" her intelligence remained at lint level! No wonder United Parcel Service is such a successful company. I was a bit nervous about writing this because if a postal employee reads it, he or she may "eat" the issues. But we all know they can't read! If you haven't ordered your missing out on great magic. $49.50 written that the book is "woefully and you'll see how right that is.)
copy of BEST OF FRIENDS, VOLUME II - are you nuts?! You're plus $3.50 (postage/handling) gets you your copy. (Many have underpriced." Compare it with some other recent publications I'll get it to you somehow! ($5.50 surface mail anywhere out of the U.S.A.)
Remember - if you photocopy
this magazine,
you lessen its worth to YOU!
I have so much material from which to choose I'm not sure, at the moment, which I'll use in next month's issue. You can be sure it will be terrific magic!
is published every month by Harry Lorayne, at: 62 Jane St., New York, N. Y. 1001U. All checks are to be made payable to Harry Lorayne, and mailed to him at that address. â&#x20AC;˘ Individual issues - $3.50 each Overseas subscription - $1/3.50 surface mail Subscription - $36.00 per year [U.S.A. dollars only) - $51.50 air mail AH back issues - $3.50 each, plus pstg. $5h.5O airmail to Australia, Japan, So. Africa, Canada & Mexico - $1/2.50 surface mail. â&#x20AC;˘1104'
etc.
Lofayne's $3.50
VOL 8 NO. 9
SEPT., 1985
pocalypse i COPYRIGHT 1985 by H. Lorayne, Inc.
ISSUE NO. 93
|ol' s routines are always so pretty in his hands. The inspiration for this one is a Bobby Bernard copper/silver routine. It made Sol think; he altered the routine but, mainly, it's the idea of not using a surface that helps make it so smooth and so pretty. There are, of course, a few other added touches. The coppersilver transposition is done twice. Originally, Sol had shown me only the second one - and that can stand alone quite nicely. It requires only one half dollar and one English penny. But performing the two as I'll explain here - is special. You'll be working a step ahead of your
audience, but also a "step behind." Whatever may be suspected the first time is eliminated the second time. Anyway - learn it; it's awfully good. Have two half dollars (silver) in your right jacket pocket, and one English penny (the copper) in your left jacket pocket. The jacket isn't necessary; you can use your trouser pockets. As a matter of fact, one "piece" used the second time (optional) can probably be done only when using the trouser pockets. I'll talk about that later.
Sol Stone Two-Timing Transpo â&#x20AC;˘1105-
Your hands go into left and right pockets at the same time. Your left hand comes out with the copper coin at its fingertips; your right hand comes out with one of the silver coins at its fingertips - the other is finger palmed. The two coins are displayed; your hands are in front of you held at about chest level; palms toward you and fingers pointing up. Say, "I'm going to make these two coins change places; how would you like me to do it - visibly or invisibly?"
but using Sol's handling. Place the visible (at right fingertips) copper coin to between your left thumb and forefinger, but not in the standard - fingertips at right angle to the coin position. Your fingers are parallel to the coin, thumb uppermost. (Fig. 1.) Don't remove your right fingertip, but use it to swivel the copper coin so that its rear surface becomes its front surface â&#x20AC;&#x201D; you want to display its other side. Your right forefingertip simply pushes inward and leftward, swiveling the coin on the pivot points of your left thumb and forefinger. (Fig. 2; partway through the pivot.) This will "throw" a few magicians who think you are using a copper/silver gaff.
You'll do the same action no matter which answer you get; that is, you'll openly switch the two coins so that the silver is at your left fingertips and the copper is at your right fingertips - the hidden, finger-palmed, silver remains in your right hand, of course. If the answer is "visibly," openly switch them, as you say - and I love Sol's line - "That's efficient but not very magical. Had you said 'invisibly,' I'd have done it this way..." If the answer is "invisibly," say, "I'm glad you said that, because if you had said 'visibly,' I'd have done this (openly switch the coins), which is efficient but not very magical but to do it invisibly. . . "
Now, as you complete the swivel of the copper coin, open your right fingers - they're automatically behind your left fingers - and, at the same time, place your right thumbtip onto the finger-palmed silver coin. (See Fig. 3.) This is to enable you to keep your right fingers fairly straight for the Spellbound change. There are no perceptible pauses in performance; it's all one fluid continual motion. To maintain that fluidity, your right hand does not move out to the right in order to come back and do the Spellbound change; no - it moves up and over the left thumb (Fig. 4 ) , then down to momentarily cover the copper coin. The instant it does, the copper is allowed to fall back into left-hand finger palm as the silver takes its place between the left thumb and forefinger, in standard Spellbound fashion. (See Fig. 5.)
6 Now, your right hand moves to your right to expose the change - the silver coin is between your left thumb and forefinger. Pantomime a slight toss of the right-hand coin(?), either downward or to the left toward your left pocket. As you do, open your right fingers so that the hand is seen to be empty. Snap the silver coin so that it's being held at its lower end with your left thumbtip and forefingertip; that is, your thumbtip snaps downward off the upper edge to grasp that same edge - that same edge automatically becomes the lower edge. The rear surface of the coin is instantly displayed this way. (See Fig. 6.) Display for a beat or less, then take the silver coin with your right fingertips. Keep it at display position as your (apparently empty, really finger palming copper coin) left hand enters your left pocket. Pretend to search at the bottom of the pocket, then slowly come out with the copper coin at fingertip display position. The transposition is complete, and you're in position for the repeat!
So, whichever the answer, the silver is now at your left fingertips, copper at right. Let the silver drop to your left palm, display for a half beat as you give it a slight upward toss then close your left hand around it. Place it into your left pocket - really. Sol comes out with his open palm-down hand, thumb pressing against forefinger. (Magicians "know" he's thumb palming the coin; laymen are simply suspicious.) He immediately turns the hand palm up, fingers spread. Suspicions all gone. Immediately
go
into
a
Say, "Perhaps that confused you; let me do it again." The exact same effect is done without the use of the extra half dollar. The silver coin is at your right fingertips, copper at left - really held between left thumbtip and first fingertip only. Do Sol's "pretend" take of the right-hand silver coin with your left
Spellbound change,
â&#x20AC;˘1106-
hand. It is a lovely move, persistence-of-vision aspect explain it as best I can. It's to a John Ramsay move, but the really all Sol's.
there's a strong to it, and I'll similar I guess, handling here is
In appearance, the coin is placed into the closing left 2nd, 3rd and 4th fingers. Perhaps more precisely, the coin is taken by your closing left 2nd, 3rd and 4th fingers, because your right hand really "freezes" during the splitsecond action. Your left hand moves and tilts toward the silver coin. The silver coin is actually surrounded by the "circle" of your left forefinger and thumb. And, the important point: Your left forefinger and 2nd finger are slightly apart so that the silver coin flashes between them. (Fig. 7 is a stop-action exposed performer's view; Fig. 8 - the spectators' view at that same instant.) It's that instant flash that creates the persistence of vision.
right fingertips) - that's "pretend" take; it's good.
all. Work on this
Your attention, now, is on your loosely closed, fingers up, left hand. Do a slight upward movement with the closed hand, as if you are bouncing the coin within. This is to parallel that same action when you did the first transposition. This time, of course, you don't really have a coin in that hand. It's a bit of simple acting - don't overdo it - and "place" the coin(?) into your left pocket! Here, you have three action choices: 1) Simply come out with your empty left hand as you did the first time. 2) Before you come out with your empty left hand it grabs the half dollar that's in that pocket and moves out to flash it. Then, drops it (openly) back into the pocket. 3) This looks best when using your trouser pocket. Your left hand grasps the half dollar that's in that pocket and pushes it outward against the cloth of the pocket! This creates the visible silhouette or impression through the cloth. Tap it (through the cloth) with the right-hand copper coin! You're simply "proving" that your left hand has placed the silver into the pocket. All right; whichever handling you use, the open, and empty, left hand comes out of the pocket. Turn both hands palm toward audience for a split second. The slightly curled right fingers shade the finger-palmed silver coin. This is an important "touch" (it can also be used during the first transposition). Turn both hands back to position and immediately go into the Spellbound change exactly as explained! Your right hand moves to your right to expose the change; do the pantomime toss of the right-hand coin(?) - all as explained. Display the left-hand silver as before (Figure 6 ) , take it with your right fingertips. Your apparently empty left hand enters your left pocket. Drop the coin to the bottom of the pocket, then "fish" for it for a second (this makes it all appear natural) and bring it out to display at your left fingertips alongside the right-hand silver coin - to end! Afterthoughts: You may be hesitant about dropping the copper coin to the bottom of the pocket before fishing for it and bringing it out - because it may clink against the silver coin that's already there, and you'd have to be sure to come out with the copper - not the silver! Well; the clinking can be avoided by dropping the copper at a different area, but it is conceivable that you have other coins in that pocket - a clink is not a giveaway necessarily. Being sure to come out with the proper (copper) coin is easy. Your left fingers can keep the two coins separated in the pocket. If either still bothers you - don't drop the coin; just fish around at the pocket's bottom, then bring it out. Up to you.
There is no pause in performance. The left 2nd, 3rd and 4th fingers curl in as if taking the silver coin as your left hand moves back to the left. Actually, your right fingers do not release the silver coin. Its right edge contacts your left forefingertip (and/or thumbtip) which causes the loosely-held coin to pivot counter-clockwise toward right-hand finger-palm position. (Fig. 9 shows this starting.) Simply let the silver coin drop or fall to finger palm as your left fingers close (apparently) around it. No pause; tilt the left hand down and place the copper coin to between your right thumbtip and forefingertip. (Fig. 10 shows the full situation at this moment.) The entire acquitment is a fraction-of-a-second action; simply "take" the silver coin (and place the copper to your
PUBLISHED, WRITTEN, EDITED:
Do go over the routine; don't omit any of Sol's little touches, and you'll have a pretty close-up routine that can be done any time and anywhere. It's an excellent piece of magic.
Harry
ILLUSTRATIONS:
â&#x20AC;˘1107-
Robert E. Lorayne
Mertz
"Slop Shuffle"
This is a nice handling for the "roll-over aces" effect, with credit going to Ron Ferris (I believe his was the first mention in print of the roll-over idea), Bruce Cervon, and Earl Nelson, among others. Ray was inspired by Earl Nelson's routine. The basic effect is that the four aces are lost into the deck, the deck is mixed face up-face down, and then the deck is "rolled," leaving a face-up ace on the table each time. The "kicker" -- the deck is ribbon spread; all cards are facing the same way. I'll teach it in steps add your own patter and presentation.
4. Cut off the top half - to the break; if you can cut to the natural separation easily, the left little finger break is not necessary and place it face up onto the table to your right. As you do, your left hand turns palm down (turning over its half deck) and places its face-down half to the left of the first half. The left half is now face up except for the two top cards (aces). 5. As you say, "Remember, some cards are face up and some are face down," do this: With your right hand, pick up the face-up half (at the right) and place it into your left hand. Flip it face down with your right hand. Take the top card with your right hand as your left hand flips over (face up) the half deck. Place the face-down right-hand card face down onto the face-up half, then flip over the entire half again. Position: The half deck is face down; except for the bottom card, which is a face-up ace. The top card is a face-down ace. Place the half deck back to table position. 6. Your right hand picks up the left (tabled) half deck and places it into your left hand. Using the same kind of patter line - take the top card with your right hand as your left hand flips over the rest of the half deck. Replace the right-hand card to top. This half is now in the same condition as the first half; face down, top card is an ace and the bottom card is a face-up ace. Place the half deck back to table position. Steps 5 and 6 take only a few seconds each.
1. Display the four aces, place them on top of the deck and apparently lose them by overhand shuffling like this: Undercut half the deck, injog the first card you run, then shuffle off. Cut at the injogged card, bringing the four aces back to the top. (Or, form a break at the injog, overhand shuffle to the break, and throw the rest on top. ) Double cut the two top cards (aces) to bottom. There are now two aces on top and two on bottom. (Obviously, any shuffle that brings you to this position will do.)
7. Table riffle shuffle the halves into each other, like this: Your left thumb releases one card, the bottom face-up ace; your right thumb releases its bottom face-up ace; your left thumb releases one more card. Then, riffle normally until you get to the top of each half. Your left thumb holds back one (top) card of its half, and your right thumb holds back two (top) cards of its half. Finish the shuffle by alternating - release one card with your right thumb, one with your left and, finally, the last right-hand card. Push the halves together only about halfway.
2. Slop Shuffle: The deck is face down in left-hand dealing position. Thumb (spread) off about 10 cards, taking them with your right hand - thumb on top and fingers underneath. Turn over your right hand so that its (about 10) cards are face up. Your left thumb spreads off about 10 more face-down cards to beneath the right-hand face-up cards. Turn over your right hand. Spread off some more cards to beneath the right-hand cards. Continue this way until there are only a few face-down cards (more than 2) remaining in your left hand, and your right hand is in thumb-up position. Then, spread the remaining but two left-hand facedown cards to beneath the right-hand cards. (See Fig. 1.) Place the last 2 face-down cards onto the top of the deck, then flip over the entire deck. A face-up card will be on top. The situation is this: From top down, half the deck face up - the last 2 face-up cards are 2 aces; then about half the deck face down, and the bottom 2 cards (aces) are face up. The Slop Shuffle, of course, makes it appear as if the deck is being indiscriminately mixed face up-face down; and it takes only a few seconds.
Over
8. Move the deck, as is - partially interlaced - to the outer area of your working surface. Now, it's "roll-over aces" time. Grasp the right part of the half-interlaced deck with your right hand, and roll over the entire deck; toward you. An ace is automatically left face up on the table. Grasp the left side of the deck with your left hand and roll over the deck. Another ace is left face up on the table. (See Fig. 2.) Repeat with your left hand, then with your right hand. (It's right, left, left, right.) This is all done in a fairly rapid, and also rhythmic, beat.
3. "Lock in" the face up-face down condition of the cards in the standard way. Cut deep to show a back; replace. Cut shallow to show a face; replace. Cut at the (center) natural, back-to-back, break and turn your right hand palm up to show two backs. Replace, holding a left little fingertip break between the halves.
9. Push the halves flush all the way, do your magical gesture, and table ribbon spread the face-down deck to show that all the cards are now face down - to end. 10. Afterthoughts: Sure; there are quite a
â&#x20AC;˘11081
few ways to present the same effect, but - what is the point of Apocalypse if not to present new and/or different - hopefully better - ways to accomplish an end result. I believe Ray's method to be an easy one and a good one; it may be the one to encourage you to try, learn, and perform the routine. And, Ray also suggested that you can secretly separate the cards into reds and blacks before you start. Then, do the routine exactly as explained, except that when you do the riffle shuffle, you have to see the cards riffling by and make sure that the reds riffle into the reds and that the blacks riffle into the blacks. Do the ace "reveal," then the face-down ribbon spread to show all cards facing one way. The extra kicker is to domino turnover the spread to show that the reds and blacks have magically separated. ••••••• Something's gotta' give. Single issues of Apocalypse have retailed for $3.50 since January, 1983. And, prior to that' they sold for $3.25; I raised it only 25t. Well, I can't hold that line any longer. As of the January, 1986 anniversary issue, Apocalypse will retail for $t+.00 per copy. (All back issues will be $h.00 each plus pstglhndlng.) Everything has gone up drastically - paper, envelopes, handling charges, everything. T~have to raise it 50c a copy or stop publishing it. Remember; there's no advertising in Apocalypse ~ you 're getting all_ magic. I've been told each issue is worth at least $10.00!
t
So; basic one-year subscription is $lt0.00 - you save $8.00 continued to support Apocalypse and sent m your renewal (or about receiving subscription renewals late. That is, after that mailing list. Understand that the January issue each year, each November. I have to mail it that early (as I do every issue] why it's m the October issue that I ask that renewals be sent handle the timing. If you don 't send it at that time, you do work and expense. ..
by subscribing. It would be nice if you new subscription) when due. I've talked name has already been removed from the volume, is usually mailed at the end of if you want to receive it on time. That's in at that time. There's no other way to louse up the timing - causing much extra
For the past two years I've inserted an invoice in the October issue. That seemed to help. So, it'll be done again this year. When you get your October issue, please look for and remove the invoice, fill it out, and send it to me with your $b0.00 renewal check. (If you want to send in your $U0.00 now, no invoice, that's fine, too!) Please help me keep the price of Apocalypse at $b.00; send your renewal when you get the invoice in the next (October) issue. Sending it late creates extra expense; help me avoid price hikes - send it on time. Out-of-USA subscribers: You know that postage went way up last February. I absorbed it last year; see my remarks Tn the May, 1985 issue, page 1068. It has to cost you more this year — sorry. You will find the invoice in this issue. That's because surface mail takes so long to reach you, and because your checks (which must be drawn on an American bank) and particularly postal Int'l Money Orders take so long to reach me. It's $h6.50 surface mail anywhere; $5h.5O airmail anywhere - except Australia, Japan, So. Africa, etc. - there, it's $57.50 airmail - and may I suggest that you send in your renewal now.
Mike Maxwell
Alls Fair
The effect is a variant on a Mario theme. Three selected cards are lost in the deck. Three aces are inserted (seemingly) by three spectators and seemingly anywhere in the deck. The aces locate the selected cards. I've found this to be quite effective, particularly when the entire thing is done at a fairly rapid pace .
that spot - 7th from top of the deck. As you square, catch a break above that selected card. Ask spectator #2 to replace his card. As you talk, your right hand lifts all cards (6) above the break. Your fingers, at the outer end of the small packet, cover that end to hide the (lack of) thickness. The second card goes onto the first card. Square.
Three aces are lying face up on the table. Table ribbon spread the shuffled face-down deck and ask each of three spectators to select a card. When they've selected their cards, ask them to remember them of course, as you gather the spread. Hold the face-down deck in lefthand dealing position.
Ask spectator #3 to place his card on top of the deck. Cut the deck, getting a momentary break between the halves. Double cut to the break. This brings the top stock back to the top, of course. If you prefer, you can do an overhand jog shuffle, followed by a false cut. Table ribbon spread the face-down deck. Eye count seven cards from the top (right end) of the spread. As you say, "I'd like to have the three aces inserted face up into the spread,
As you ask the first spectator to place his card into the deck, spread off, eye counting six cards. Have that first card returned to
•1109"
That card rides under the spread as you continue spreading, and it is loaded to beneath the second face-up ace. Easy enough. As you come to that second face-up ace, stop to display it for a beat. It is "slid" above the hidden (beneath the spread) card. Continue the spreading - all looks normal - to display the third ace. Square the deck.
like this," insert one face-up ace to 8th position from top. This, of course, should be done without hesitation; it should appear as if you have inserted the ace anywhere - you did it as a demonstration. Ask a spectator to pick up another ace and "insert it somewhere around center." He does. Ask another spectator to insert the last (3rd) ace face up "somewhere near bottom" .( indicate the left-end area of the spread). Gather the spread, and pick up the deck; square the cards.
Do one more quick tabled ribbon spread and gather to display the aces (optional). Then, pick up the deck and hand to hand spread. When you reach the first face-up ace, take all the cards above it and table them in a face-down squared packet. Deal that first face-up ace onto the tabled packet. Continue spreading. Place the cards above the second face-up ace onto the table in a facedown squared packet, next to the first tabled packet. Place the second face-up ace onto that packet. All the cards above the third face-up ace are tabled in a face-down packet next to the first two. Deal the 3rd face-up ace onto it. Fan the few remaining in-hand cards and wave them over the three tabled packets - as a magical gesture. Ask for the names of the three selected cards. Push the face-up aces off the packets and flip each top card face up to show that the aces have, indeed, found the selected cards!
Hand to hand spread ostensibly to, again, point out the separated face-up aces. What you have to do is to get the 2nd card past the first face-up ace into "spread cull" position. That card will "ride" beneath the spread. (I've always referred to this move as the "Hofzinser slide.") Your left thumbtip rests on the first card past (to the left of) that ace, holding it stationary at that instant - as your right fingers, under the spread, pull the second card to the right. (Fig. 1 is an exposed stop-action view.)
John M. Bauman
Afterthoughts: As I said at the top, I find this to b~i quite effective when done at a fairly rapid pace. You'll have to try it, of course, to see if this is so for you - and whether or not it's your kind of thing.
The Missing Link three links, holding them together in an easyto-handle compact bundle so that they will not separate and clink when dropped into your hand. Two of the loose links are hooked onto the closed padlock. (Fig. 1 shows all.) This (the padlock) is resting on your left thigh. The banded chain of three is in your right jacket pocket. (See Afterthoughts for approximate link size . )
|ohn realizes that this is a variation of an old plot generally used with dice or other small objects, but he feels that "it is fairly cohesive and offers a couple of new twists with a stronger ending." I agree. Effect: Three small chain links are shown to be solid and separate. Two are placed into your left hand and one, the "missing link," is placed into your jacket pocket. However, when your left hand is opened, three links fall to the table. This is done one more time. Then one link is placed into your left hand, two into your pocket. Again, three links fall from your left hand onto the table. You look a bit smug, then act surprised as you pick up the links which now form a small really linked chain. "Did you miss the link?" After this sinks in, offer to explain how it's done, stating that in reality the middle link has a small opening which locks. As you say this, drop the chain to the table with a thud, because now the middle link is seen to be a large padlock!
Performance: Start with the four loose links in your right hand. Drop three of them onto your working surface; retain one in finger palm. Your audience, of course, is aware of only the three on the table. Make your introductory remarks, pick up two of the tabled links with your right hand and drop them into your left hand, adding the finger-palmed link as you do. Your left hand immediately closes, and your right hand picks up the last (third) link and pretends to drop it into your right jacket pocket; really finger palm it.
The routine is performed while seated. You will need six separate chain links and one linked chain of three, and a padlock just small enough to fit in one hand (even clumsily) without showing. You'll also need a few small dental elastics such as those used to hold folding half dollars together. The dental elastic is placed around the folded or aligned chain of
â&#x20AC;˘1110-
Your right hand comes back to the table, and points to your left fist. Your left fist turns over, fingers down, opens and releases its three links. Your right hand picks up two of the links, and places them back into your left hand, again adding the palmed link. Your right hand picks up the tabled link and again goes into your right jacket pocket. This time, however, your right hand releases the single link and finger palms the "bundle" of three.
Your left hand, lock and links held as explained, is brought up to the table's edge, just as your right hand is coming downward to meet it, holding the chain. The chain is lapped and your left hand brought forward to center table; your left elbow rests on the edge of the table. It should appear as if you simply placed the chain into your left hand, and should be timed to happen on the "off beat." Also, although John didn't mention this, you may want to cover the sound made when you lap the chain of three links. The best,way, perhaps, is to shake your left hand, timing it so that any sound caused by the lapping seems to come from your left hand.
Your right hand returns to rest on the table as before, and once again your left hand lets its three links fall to the table. Now, your right hand picks up a single link and tosses it into your left hand. What you really do is to retain that single link (get it into finger palm) and toss the bundle of three links into your left hand. There's a finger-palmed link in your right hand, and two single links are on the table. Your right hand picks up the two tabled links and places them into your jacket pocket the finger-palmed link is also left in the pocket. As you do this, your left thumb pushes the elastic band(s) off the bundled, linked, chain of three. This is done secretly; don't make any obvious movements. Your right hand returns to table "rest."
Offer to let your spectators in on the secret. After using a remark or two similar to the one in "effect," suddenly drop the lock onto the table in front (north) of your close-up mat (if you're using one). This makes a louder thud and, of course, brings your hands farther away from the table's edge.
Once again your left hand turns over and drops three links onto the table. When you drop them this time, try to make them fall in a pile so that it isn't obvious that they're linked. Look up at your audience as if you expected applause; act surprised when you don't get it. Then, as if you realize that they've missed something, pick up the chain by one end with your right hand and hold it up so that it is seen that the links are indeed linked. (See Fig. 2.) Pause to let this register. Relax as if the effect is over.
Afterthoughts: John feels that the plot can easily Be applied to a trade show demonstration. For example; the "missing link" could represent the client's product. For a "kiddie" show, the "missing link" could represent "safety," and so on. The links he uses are of polished, chrome-plated steel, longer than they are wide; they're approximately an inch and a half long, and oval shaped. He originally tried to make the chain of three links stick together with magician's wax, but that didn't work too well. The elastics do the job and are not noticed by the audience. An interesting, good, routine.
Your left hand falls naturally to your lap and picks up the lock and links. Hold the package so that if viewed from the front, your audience would see one end of a link sticking up above your forefinger, and a link hanging below your little finger. Your fingers are pointing toward your right, and the body of the lock is in your palm. (Fig. 3.) Your left fingers may have to curl around the arm of the lock to hold it in place adequately.
Jack Carpenter
For another excellent routine with chain links, see Sol Stone's Linking Links in BEST OF FRIENDS, VOLUME II
Take Leave ceding routine, or as you "toy" with the deck. I have to leave that to you.
lack was inspired by a Father Cyprian effect that used gaffed cards (called, I think, Departure From Hofzinser's Departure). Jack has eliminated the gaffs, and has come up with a completely different method. It's a good, magical , routine.
To Perform: Let a spectator select a card; free choice, any selection method. Be careful not to flash the face-up mate second from top. He looks at and remembers his card -- you can have him sign its face, if you like. As he does this, get a break beneath the top card of the deck proper, preparing for Tilt.
You're going to remove the four aces from the deck, and table them. As you do, you have to "set" as follows: Get one card of any pair of mates to the face of the deck. The mate to that card has to be reversed to second-from-top position. So, you might have a red 3-spot at bottom and the other red 3-spot face up at seccond from top. Obviously, you can get to position any way you like. You may already have the aces on the table; set the mates during a pre-
"Tilt" his card to beneath the top card to second from top; your spectators, of course, believe that it's being lost to center deck. (Fig. 1.) Square the deck. Say, "Your card cannot be here at bottom..." Turn the deck face up to flash the bottom card. Flip it face down a-
-1111-
the packet face down. Now, in effect and appearance, the four aces become, change to, the selected card.
gain - "...nor can it be here on top." Flip the top card face up. Flip it face down again really doing a triple turnover. (Just go to the natural break under the face-up red 3-spot that is third from top.)
As you talk about the aces finding the selected card, obtain a break beneath the packet's top card. That break or separation is held or maintained by your right thumbtip. Your left fingers move back and forth (to and fro) over the center of the spread; say something about "your card is here, somewhere, among all these cards." As you talk, your right hand holds its packet (top card still separated) just above the right end of the ribbon spread - directly over the face red 3-spot. (See Fig. 4.)
"The four aces will help me find your lost card." Reach for the tabled aces with the right hand as you get a left little fingertip break beneath the deck's top two cards. Again, easy; there's a face-up indifferent card second from top - go to the natural break beneath it. Fan (display) the face-up aces in your right hand, square them onto the deck, and immediately pick up the "broken" top block from above (it will be a 6-card block). Turn your right hand palm up, its packet face down, as your right little finger indicates the deck, and as you say something about his card being lost in the deck. (Fig. 2.) Do this smoothly, with no hesitations, and it's convincing; it negates suspicion of a steal because a back shows at top of the ace packet, as it should.
Place (drop) the packet - all cards beneath the top, separated, card - onto the right end of the ribbon spread. Do this carefully; you don't want any spreading here - you'd expose face-down cards. This leaves only the one face-down (selected) card in your right hand. Move the hand away from the tabled spread. This is the reason for setting mates. A red 3-spot was at face (right end) of the spread before, and there's a red 3-spot there now! (Fig. 5.) Build any way you like...until, finally, your right hand snaps its single card face up to expose the signed selected card! The aces are gone - they've changed to the selection. Toss it onto the table; its "singleness" is apparent. You can end here, of course.
From the position shown in Figure 2: Your left hand moves to the table, turning palm down (the deck face up) and ribbon spreads the faceup deck from left to right. Leave a block at the right end; that is, don't really finish the ribbon spread. As your left hand ribbon spreads your right hand turns palm down, turning its packet face up. Place the face-up packet into your left hand. (See Fig. 3.)
But - the four face-down aces are hidden beneath the face red 3-spot. Jack ends as follows: Gather the spread, square the cards, flip the deck face down (still on the table), complete cut it â&#x20AC;&#x201D; and pantomime "gathering" the aces out of the air one at a time and tossing them toward the deck. This is done alternately;
Display the aces once more by pushing off the three top aces with your left thumb; the two extra cards are hidden behind the fourth ace. Square. (This display is optional.) Flip
â&#x20AC;˘1112-
left, right, then Left, right hands. You might want to say something about finding the missing aces . Finally, ribbon spread the face-down deck to show the face-up aces together at center!
Mitchell Silverman
Afterthoughts: This is the kind of routine you must try in order to appreciate. Just reading it isn't enough. Try it; it's good magic. You will, of course, want to add your own patter/personality to the routine.
Any Coin Go
Interesting idea here. It's based on an old childrens' "trick" of showing all fingers (both hands) properly interlaced but still hiding one finger (right or left third finger) at palmar side of the hands. You must be seated at a table opposite your spectators in order to use this for the coin vanish.
time to count, he'd count only nine fingers. That's the childrens' "trick" - to let someone count, and ask, "Where's the tenth finger?" Obviously, no attention is called to the number of fingers here. It all speaks for itself. If you did it any other way, your spectators would see two fingers together from their view. Try it; check it out. Okay; that hidden right third finger is used as the motor power to "shoot" a coin into your lap. The coin is tabled in front of you, perhaps six inches or so from the table's edge. You'll have to experiment with the distance. You can shoot it from farther out, but the farther it is - and the taller a spectator - the more chance of the coin being seen. Your thumbs, however, afford more "shade," as you'll see. Bring attention to the coin, then clasp your hands as explained as you place them in front of (north of) the coin - to act as the screen. Your thumbs move together, tips touching or almost touching - as your hidden right third fingertip presses down on the tabletop behind the coin. (Fig. 3.) That's what I meant about your thumbs giving you some more cover. Pressing down on the tabletop with that hidden fingertip accomplishes two things - it gives you more leverage, more motor power, and it helps to "shoot" the coin straight back. Before Mitchell mentioned that to me, the coin was shooting to the right, and missing my lap!
First let me explain how to interlace your fingers so that all looks perfectly normal from the front - that is, no obviously missing finger. As you "clasp" your hands your right third finger closes to your right palm. Your right little finger moves to between your left third and little fingers; your right second finger goes to between your left second and third fingers, and your right forefinger moves to between your left forefinger and second finger. It reads confusing - just look at Fig. 1, your view, and it will be obvious to you. I've not clasped the fingers all the way here; that's to make sure it is obvious to you. full
From the front all looks normal. (Fig. 2; clasp position.) But if anyone took the
Well, that's it. Shoot the coin back with your hidden right third finger. That finger sort of "spurts" off the tabletop toward you. The coin is propelled (slides) off the table into your lap. Immediately lift your hands as you unclasp them, straightening the right third finger. The coin, of course, has disappeared. Afterthoughts: Not much more I can tell you about this. It can be used (with most any small object) as a quick stunt all by itself, or during a longer coin routine. In appearance, the "screen" (your clasped hands) is placed in front of the coin for a beat or so, then raised. The coin is gone. Go from there. And, although I'm sure I'm being redundant by even mentioning this - obviously, only the hidden third finger moves; otherwise your hands remain perfectly stationary as the "move" is done.
Remember - if you photocopy this magazine, you lessen its worth to YOU!
Robert Bengel Bill Matrix Bob Kubota More Monte Jon Racherbaumer Surfer Sandwich Joe Safuto Another Tenkai And - Doc Valles, Jeff Czerbinski. , Richard Vollmer, Marvin Steiner - plus...
Apocalypse Variations or Additions Gary Plants uses Greg Eanes' SCAT (Apocalypse; May, 1985) but with two of his own interesting changes. Although Greg's routine "plays" exceptionally well just as it stands, Gary has eliminated two areas that could be considered weak points by some. One of those is a pretend return (during a mock demonstration) of a "traveled" coin from beneath your right hand to beneath your left hand; the other is a right-hand Classic Palm. Gary really moves, actually shows, a coin being returned from right to left hand, and he completely eliminates the Classic Palm. In order to follow what I'm talking about, you do have to be familiar with SCAT, and/or have the May, 1985 issue in front of you as you read, and try, the following: You've made the first coin magically travel from left to right hand - to join the one coin that was already under your right hand; both hands are raised to show two coins under each. Now, in SCAT (look at the end of page 1058, around Figure 4) you pretend to take one right-side coin with your right hand - really placing the shell onto the regular coin - then slide your empty right hand to under your left hand for the "pretend" return. Gary's thinking: Why do a fake return/transfer? Really transfer (only) the shell from right to left. It's placed over (nested onto) one of the left-hand coins. (All is shaded by your open/flat left hand, of course). Then, do the "slow motion bit" (as explained in SCAT, top of page 1059, around Figure 5 ) , openly sliding back to the right (from the left) the shell and nested coin. Continue as explained in SCAT until the last left-side coin has to travel. At this point, in the original, Greg picks up the remaining left-side coin with his right hand and gets it into right-hand Classic Palm. Later, it is "pretend" returned to under the left-hand, and then caused to magically travel to the right. Gary's thinking: Leave the left-side coin where it is. Your right hand picks up - stacks - the 3 right-side coins, the shell is at bottom of the stack. As you pick them up, say, "When we started, these three coins were here." Place the 3-coin stack onto the remaining left-side coin and immediately cover all with your open/flat left hand. The shell is now, automatically, on the last left-side coin. The 3(?) coins are moved back to the right, one at a time, as you say, "Then, one at a time" (your right forefinger reaches under your left hand and slides the top coin to the right) "...three of the coins" (slide the 2nd coin to the right, starting the right-side vertical row) "moved from my left hand to my right hand" (slide the 3rd coin - really the shell and nested coin - to the right, completing the 3coin vertical row). You're ready for the climax. All 4 coins are already on your right, although your spectators see only 3 and there is nothing under your left hand - your spectators think there is one coin still there. Build to the ending. Secretly move the shell off the coin, as explained in the original, for a "clean" finish. If you knew SCAT and/or had the May, 1985 issue of Apocalypse in front of you, this is all quite clear to you. It's good.
Justin Higham
Litmus Aces
|his is an ace-assembly routine (and the "assembly" happens twice, once in the cardcase) using the Lin Searles idea of different-colored aces. The set-up may read complicated, but it isn't - follow along. You need a blue-backed deck, three red-backed indifferent cards, and the red-backed (4) aces.
the August, 1983 issue.) But, briefly: Your right hand turns palm up to flash the rear red back, then back to position as your left thumb peels the face ace onto the left-hand face-down deck. Repeat exactly to show the other(?) three red-backed aces. As you show the last ace, the AS, deal it face down onto the table in "leader" position. Spread the top three face-up aces on top of the deck, then flip them face down — really flipping over an 8-card block; easy because of the natural break under the face-up indifferent red cards. The spread aces align as the block turns over. Spread off the three top cards - it all looks as it should; the top three cards are the red-backed indifferent cards. Deal these into a face-down row above (north of) the leader AS, forming the usual "T" formation. • Do all this correctly and it appears exactly as if all four red-backed aces are on the table.
Set as follows, from top down: A face-down blue-backed indifferent card, a face-up bluebacked indifferent card, the three face-up redbacked indifferent cards, remainder of the face down blue-backed deck. Remove the AH, AD, AC from the blue-backed deck - make sure that the AS is not among the top 14 cards. (You might also want to make sure that the blue-backed duplicates of the three red-backed indifferent cards are not among the top 14 cards.) Place the three blue-backed aces, the red-backed AS on top of them, into your pocket or wallet. Finally, place the three red-backed aces into the cardcase.
Get a break under the two top cards of the deck (don't spread them; the 2nd card is face up) and double cut them to the bottom. Then deal three cards onto the leader AS. These are the blue-backed aces. Pull out the red-backed AS, show its face, then drop it face down onto the three blue cards. (Be sure to square the packet.) Deal three blue cards onto each of the
Performance: Hold the face-down deck in your left hand as your right hand takes the face-up ace packet from pocket or wallet. Holding the aces from above with your right hand, "Flushtration Count" them onto the deck to show four red-backed aces. (The Flushtration Count has been described in Apocalypse before; see
•1114-
other three red-backed proper aside.
aces(?). Place the deck
Pick up the left-end packet, pull out the bottom (red-backed) card (don't flash its face) saying something about this ace(?). Apparently replace it to bottom, but really buckle the bottom card and place the red card to 2nd from bottom. (Fig. 1.) This is to emphasize the fact that the ace(?) is still there, and also to place the red card to 3rd from top. (If you don't want to bother with the bottom-card buckle, simply spread the 4 cards, then openly move the top card to bottom, and square.) Do your magical gesture, and Elmsley Count the four cards - the red-backed card is gone; . four blue backs show. Flip the packet face up and legitimately reverse count the four cards to show that the ace is gone. The red-backed card is now at rear. Drop the squared face-up packet to row position. Repeat this exact sequence (red-backed card disappears, reverse count face up to show the ace gone) with the remaining two "row" packets. Then, pick up the squared leader packet and flip it face up. Flushtration Count to show four red-backed aces. (First magical "assembly.") Turn the AS face down and openly place it into the cardcase, to join the three facedown red-backed aces that are already secretly in there. Don't flash them, of course. Place the cardcase to "leader" position, alongside the three face-up aces (which are blue-backed, but which you've just shown to be red-backed)â&#x20AC;˘
Point to the cardcase at "leader" position, and say something about it being impossible for the red-backed aces to join their red-backed leader now. End as in the well-known (Stanley) Collins' Aces. Pick up a face-down packet, and hold it in "glide" position. Magical gesture, then show that the red-backed ace is gone, like this : Pull out the bottom card, turn it face up and table it. Pull out the (now) bottom card, turn it face up and deal it onto the first tabled card. Apparently do exactly the same with the next (3rd) bottom card. Really glide back that bottom, indifferent, card enabling your other hand to take the top two cards as one. Turn the double card face up and deal it onto the face-up already-tabled cards. Finally, turn face up the last single card and drop it onto the tabled cards. This sequence hides both the red back and the ace as you show four cards. Repeat exactly with the other two packets. To end, open the cardcase and remove the four red-backed cards. Flip them face up to show that, once again, the three aces have, indeed (and magically), joined their leader! Afterthoughts: What a good routine this is. THe deck i~s "dirty" at the end - that is, there are three red-backed indifferent cards in it, and the bottom blue card is face up. You can either gather all the cards and put the deck away, or work out your own way to "clean up."
With your left hand, pick up the left-end face-up packet. Your right hand picks up one of the aces. Act as if you're pushing the face-up ace anywhere into the face-up packet; it really goes to the rear (bottom) of the packet. Square and turn the packet face down; a blue back (the ace) shows. Replace to row position. Repeat exactly with the two remaining packets.
Ellipses (...) a minute...I'm reading someone's "The Magician's Bookshelf of 100 Books" in a magic magazine, and I'm getting upset...not to mention hurt. I don't know, not sure, is it only my ego talking? Probably. Nowhere do I see my name. The list compiler breaks it into categories. My books obviously don't belong in most of them, like ... spiritualism... children's magic...historical... stage conjuring, etc. But I really did think that quite a few of my books were in the "classic" area. Do you know why I thought that? Because so many of you have told me so! No one, evidently, ever told Mister Lister. But wait a minute... surely he's entitled to his opinions, is he not? Of course he is. But so am I! (And so are those who have since called to tell me how upset they are.) I honestly do not see how anyone who knows anything about magic can omit all my books from such a list. But wait a minute...we're really discussing one man's knowledge. Perhaps that knowledge is lacking? I don't know...I'm thinking out loud. But wait a minute...I kept reading and kept talking to myself. The penultimate thing I said to myself was - no, I don't think I'll write about this...he's entitled to his opinions... I may be wrong; I'll appear the fool... better to say nothing if I can't say something nice... I'll only call attention to the silly thing...and on and on. But wait a minute...I came to the last category - Miscellaneous. I realized that this guy really doesn't know what he's talking about. #97; he lists The Famous Roth Memory Course. Yes; it's good (although not what you'd call "available")...very good in the very early 1900's. Roth himself (he died at age 96) was a fan...kept calling to tell me that neither he nor anyone else taught the subject as well as I, took it to the heights I did, and other nice things. No book on the subject has been on a bestseller list in the history of bestseller lists except for my book, THE MEMORY BOOK, for almost a year (New York Times #2, Los Angeles Times
â&#x20AC;˘1115-
#1)! My books on memory are in about 20 languages now (my latest THE PAGE-A-MINUTE MEMORY BOOK, is just out); I've personally talked about them on TV in perhaps ten countries of the world and on just about every major show in America. Certainly more than anyone else, ever. People who know (including those who write college text books) consider my books "Bibles" on the subject obviously, not this compiler of lists. But wait a minute... he's a bookseller! New, used, old, mint...whatever. Is it possible? Can it be? He listed the books he has for sale!? I don't know, but I recently passed another birthday ... nothing surprises me anymore. And...wait another minute...he ends by saying "I think you'll agree, this is the best all around library of 100 books on magic." Pretty immodest. The books are fine; his listing isn't. Well, I don't believe in modesty either. Any such list with not one of my books on it...is not a good list, much less the "best." In my opinion, Mister Lister exposed his lack of knowledge. Penn and Teller receiving rave reviews for their show at the Westside Arts Theatre in New York City. Interesting; ads for the show make no mention of magic. No comment... just stating a fact. They're excellent ... modern... great for the "yuppie" (they think they're hipper than most) crowd. Much talk among magicians about their exposing. (They do a tandem [together] cup & ball routine, then do it again with clear cups. All loads, etc., are seen. They talk about and demonstrate forcing a card, holding a break, and so on.) I frankly don't think it matters. If I couldn't fool a lay audience with a cup & ball routine and certainly with a deck of cards immediately after their "exposure," I'd quit magic. I think the worst exposure is - celebrities (not magicians) doing good magic on national television, and bad magicians. So, although their "exposure" doesn't get laughs and I don't think they need it, I don't think it much matters. Can't, however, wonder how they'd react if someone exposed needles from the mouth, levitation, the Bible prediction, rose-shadow illusion, etc. - things they do that are excellent and that fool?! Most likely, they'd simply continue doing them -- or substitute other items. Nice note from Milt Kort. He's a gentleman, and I've spent pleasant hours at his home in Michigan. He mentions Ray Mertz's Brainwave idea with a miniature deck (Apocalypse; May, 1985 in the Afterthoughts of the Mike Bornstein item) and reminds me that Greer Marechal's idea of a miniature Brainwave deck hidden in the sleeve appeared in the Phoenix (#146, page 587) back in 1948. Same idea, although both Milt and I know that Ray wasn't aware of it. Milt fooled J. B. Bobo with the idea and Bobo used it. It became known as Bobo's Invisible Deck. So it goes! ..Âť- j , j..
Along the same highway... Jon Racherbaumer loves Barry Stevenson's The Leeds Miracle (Apocalypse; November, 1984). Jon devised a similar routine, it appeared in Kabbala Three - called Blankwave; which, he tells me, is essentially the R. W. Hull mental effect. Barry's routine is different, and very good. You might want to compare. I just want to keep the record straight. And, Peter Marshall uses a "Flushtrated Elmsley" in Off-Color Monte (in BEST OF FRIENDS, VOLUME II). It's the same as (inadvertent) Phil/Max Goldstein/Maven's Ghostback Count. Bob McAllister has come out with a terrific "stick-um." It's flesh-colored, and stays soft and pliable for a long time. It's called Wock-A-Doo, and all dealers will (should) stock it; it may just become a standard, like flash paper, etc. A box - a goodly supply - sells for $3.00 or $3.50. Also comes with instructions for five effects. A Spoon Suspension is startling. The line I gave Bob, and which he'll use in his adverts, is - "Now you can lap while standing!" i' -k ~k
Yoshio Hirose's The Invisible Hole ran in the March, 1985 issue of Apocalypse. Since then, a few dealers have been selling it. One is a variation (not as good as the original) with a bit of credit, for $5.50. One is exact; no credit. You can get the original for $3.50 (less, if you are a subscriber) in Apocalypse, plus 6/7 other blockbuster effects (including Pursonality). *** My son's front cover picture (this issue) reminds me of an old riddle (puzzle). So old it may be new to many. The riddle: What's wrong with the face of the Grandfather's Clock? *** Mentioning one of my own books reminds me to tell out of print. Both QUANTUM LEAPS and BEST OF FRIENDS, printings. When I run out of present inventory.. .which think I'll reprint again. Storage is
is published every month by Harry Lorayne, All checks are to be made payable to Harry Lorayne,
you that I may let two of my others go VOLUME I have gone through a number of may be before you read this... I do not becoming a problem.
at: 62 Jane St., New York, N. Y. 1001U. and mailed to him at that address.
Individual issues - $lf.00 each Overseas subscription - $^6.50 surface mail Subscription - $li0.00 per year (U.S.A. dollars only) - $5^.50 air mail All back issues - $1^.00 each, plus pstg. $57.50 airmail to Australia, Japan, So. Africa, Canada & Mexico - $b5.50 surface mail.
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Lorayne's VOL 8 NO. 10
$3.50
OCT., 1985
pocalypse e COPYRIGHT 1985 by H. Lorayne, Inc.
ISSUE NO. 94
Robert Bengel Bill Matrix
Three half dollars and a matching expanded half-dollar shell, any oddor foreign-looking coin that loosely fits inside the shell (Bob uses a Chinese coin), a jumbo coin - as large as you can handle, and a close-up pad.
MM
don't think
you'll find any new moves here - but what a good close-up routine it is! It's perfect for a table-hopping magician for a variety of reasons; among them - it's easy to do, the impact is strong, it gets the spectator to loosen up - to "produce" a couple of bills, it re-sets so that you're ready to do it at the next table.
The preparation is simple. The odd coin is nested in the shell, and all the coins are in your close-up case, your jacket change pocket, or in a small coin purse (which is what Bob uses) so that you can get to them easily when needed. The jumbo coin must be in position to be stolen into your left hand near the end of the routine. Set for your convenience; it can be on your lap, in your left jacket pocket or, as Bob does, when you place the pad onto the table â&#x20AC;&#x201D; load the jumbo coin under its inner left corner.
You'll need the following:
To Perform:
â&#x20AC;˘1117"
Ask for the loan of two bills;
you can play this for laughs in the usual way ask for $50 or $100 bills, and so on. As the bills are being brought out, bring out the four coins - or bring out the purse and take the coins out of it - and place them onto the pad in standard matrix (square) fashion. The shell (odd coin inside) goes to the outer left corner.
the outer left coin (the odd coin, but seemingly a half dollar), as your right hand places its bill onto the outer right half dollar loading the shell alongside; careful not to touch and clink. All this takes a second or two, during the patter - "I'll cover this coin with this bill, and this coin with this bill."
Pick up the two bills, display both sides of each. Drop them to center pad and let both hands be seen to be empty. Pick up both bills with your left hand and move them directly to the outer left coin (shell); hold the bills about three to four inches directly above the coin. What follows is an instant steal of the shell. It will take me much longer to explain than you to do.
Pick up the inner right, exposed, half dollar and tap the coin at outer left (through the bill) and then the coin at outer right. (Tap the real coin at outer right, do not tap the shell. You want the proper sound.) This is a convincer; there is definitely a half dollar(?) under each bill; and your hands are seen to be "clean," etc. Then, apparently place the "tapping" half dollar from right to left hand. Do a retention pass, any "pretend" placement that leaves the coin in right-hand finger palm. Slowly open your left hand to show that the coin is gone. Ask a spectator to slide the outer right bill to center pad (center of the coin square). This reveals two coins at outer right. With your left hand, grasp the moved bill at its outer short end and turn it over end for end onto your palm-up right hand - covering the finger-palmed half dollar. (Fig. 3.) Take bill and (hidden) coin with your left hand for a moment; then your right hand takes back bill and coin and places back to outer right position, loading the hidden coin. This is a basic "load" sequence, of course.
During your patter ("The two bills will be used to cover two coins, like this"), use your right fingers to pull the top bill a bit to the right - the bills overlap. Both thumbs and forefingers are holding the bills; your hands are palm up, thumbs on top. During an indicatory gesture, lower hands and bills onto the outer left coin, and - your second fingertips grasp the shell between them as your hands move back (straight) up to position (3 or 4 inches only) again. (Fig. 1 is a worm's eye view.) You've simply and instantly stolen the shell; the odd coin remains at position, but can't be seen.
Pick up the remaining exposed half dollar (inner left) with your right hand and repeat exactly. That is - vanish the coin, have your spectator push the outer right bill to center revealing three coins. Pick up the moved bill, covering the finger-palmed coin; load the coin to outer right. Most of your work is done; now you can really "build" the rest of the routine. Say that the last coin (outer left) will travel all by itself, but you want the person closest to it to feel it through the bill - make sure it's still there. He does that, feeling the odd coin of course. It's during this "feeling" process that you steal the jumbo coin into your left hand. If it's on your lap or in your pocket, simply grab it. If it's beneath your pad at inner left, slide your left hand under the pad at that area as your right hand moves under it at inner right. Move the entire pad ostensibly to make it easier for your spectator to feel the
Extend your right second finger (beneath the bills) so that it can hold the shell up against the top bill (also up against your right thumbtip - Fig. 2 ) . Your right hand moves its bill (shell hidden underneath) to the outer right coin. Your left hand drops its bill onto
â&#x20AC;˘1118-
outer left coin. Move back the pad - your left hand turning back up and holding the jumbo coin. That left hand remains stationary for the time being. Your right hand pantomimes removing the coin through the outer left bill and tossing it down through the outer right bill. Ask your spectator to slide that outer right bill to center again. All attention, of course, is on the four coins at outer right. Pick up the moved bill with your right hand and place it into your left hand. Place it between your left 1st and 2nd fingers. The jumbo coin is basically horizontal to the tabletop as your left hand moves slightly upward. When the bill is placed to between your left 1st and 2nd fingers, it appears to be on (standing on) its outer long side for an instant. (Fig. 4.) Stretch your left thumb over to, or toward, that outer (right) long side and press the bill against the coin. This will effectively cover the jumbo coin from all crucial angles. (Fig. 5.) It's instant and off-beat; the routine is seemingly over, and attention is elsewhere.
show you how easy
Keeping your attention on the just-revealed Chinese coin, your right hand takes the two left-hand bills (and the hidden jumbo coin) and tables them at center pad. Pick up the Chinese coin with your right hand, apparently place it into your left hand, really keeping it in your right, as you say, "Everyone thinks that this Chinese (or whatever) coin is the one that does the magic. No, it isn't." Do a pantomime toss with your left hand toward the tabled bills; open your left hand as you "toss" so that all see that the Chinese coin is no longer there. "The coin that really does the magic is there, under your bills - take a look!" Let a spectator lift the two bills to reveal the jumbo coin. This is startling! During the surprise, and the reaction, casually pick up the half dollars with your left hand, making sure that the shell is at the bottom of the stack. Place the stack into your right hand, onto the Chinese coin, re-loading the shell! Place the stack back into the coin purse, or wherever - and you're set to repeat!
"Some people think I use an extra coin under this bill." Nod toward the outer left bill. "Well, I do." Ask the spectator who "felt" that coin a moment ago to hand you the bill. This exposes the Chinese (or whatever) coin. Your right hand takes the bill and places it onto and overlapping the left-hand bill. This affords more than enough cover for the jumbo coin which should be shifted to directly under the overlapped bills. A try or two will give you
i
the "feel" of the thing and it is.
Afterthoughts: I've only suggested patter; fill in as needed, and for entertainment, of course. I told you - there are no really new moves (unless the steal of the shell at the start is) but it's a very good, very surprising, very entertaining routine. That steal of the shell really is instant - as quick as it Is for you to lower and raise the two bills. Have fun!
take it from the "foremost memory-training specialist in the world" (me!) - one of the best ways to avoid forgetting is to do it now! Another volume of Apocalypse reaches completion in two issues. As explained in the last issue, the January, 1986 (anniversary) issue is mailed at the end of November in order for that issue to reach you on time. (The November issue is in the mails now.) I have the post office to deal with! That's why I have to ask you to send in your subscription renewal now. Last year, I enclosed an invoice blank with the October issue. I'm doing the same this year because it was a "spur" for many (not all) who usually remember to send their renewals by St. Valentine's Day! And by then, the name is off the mailing list, and the Jan., Feb. and March issues have already been mailed. The name has to be put back on the mailing list, which costs as much as, or more than, taking it off -- and it creates the extra work and cost of mailing the earlier issues separately, and on, and on. Help me keep the subscription fee at its present level for a long time. It's simple; just send in your $40.00 (U.S.A.) renewal now. The new rates are specified in the subscription box, this issue - and on the invoice blank. Fill out that blank and return it to me with your check - now. That's all. And, you've helped a lot toward keeping costs down and at their present levels. This is mainly for started-in-January subscribers. If you started your subscription after January you, too, can send your renewal now. Then you will not run the risk of "forgetting," and you'll save the time and expense of "reminders." You will also avoid mailing delays. The invoice blank can also be used to start a new subscription. You'll probably subscribe soon anyway; why not do it now?! (If you've already sent in your renewal for 1986, please give the subscription blank to a non-subscriber; perhaps it'll "spur" him to act.) It'd be nice if you talked him into subscribing!
Bob Kubota
t
More Monte
• • like the way this is put together. There are no new moves involved; a similar sequence is described in Harry Levine's Macho Monte (Apocalypse; March, 1982), part of it is Ed Mario's Quick 3-Way handling, and it also uses Ken Krenzel's "outjog" method of Trevor Lewis' monte move (I've referred to it as the twist-turn or turndown switch). This is detailed way back in the June, 1978 issue of Apocalypse. (Monte Plus is the title of the routine.)
In the next issue (July, 1978), I ran the "outjog" idea (Monte Plus Plus). I won't take the space to describe it here; you'll have to check the above-mentioned issues. Or, I taught Trevor's basic move more recently in Clipped Again (Sol Stone - Apocalypse; July, 1984). Check that; simply outjog the center card and do the turndown switch exactly as described; it works automatically - and it's good. Or, check Richard Vollmer's Poor Man's Monte (Apocalypse;
•1119-
"But you know better. You saw all three cards before we started. You saw one king..." Do a double turnover from bottom to top to show a red king. (Fairly standard move: Your left thumb pulls back, to the left, the top card so that your right fingers can grasp the two lower cards as one - Fig. 2. Flip/revolve the double face up to the top. ) Turn down the double (on top) and deal the top card (supposedly a king, really the ace) onto the table.
April, 1981) for a similar routine (with four cards) and a detailed description of the outjogged method of the turndown switch. Bob tells me that he learned the basic routine handling from Paul Cummins and Billy Herz. Now that the credits are taken care of, let's get to the magic. Only three cards are used, the spectators are specifically aware of that, no "tight" handling is necessary in order to hide extra cards, the action flows nicely, and lots of magic happens. Since I'm sure that Apocalytes know all the moves, I'll teach it in "bare bones" fashion, with the basic patter that Bob uses. Start by openly removing the AS and the two red kings (or jacks) from the deck. Place the deck aside. The AS goes between the two red kings and the 3-card fan is held face toward your spectators. As you move the fan to facedown position, ask one spectator (Bob usually uses a woman) where she thinks the AS is. She should say "center" or "middle;" if she says anything else, make any funny remark and reflash the fan. When she says "middle," say "That's right, of course." Square the face-down cards, and continue, "But for now, let's pretend that the ace of spades is on top." Match actions to words and do a double turnover to show that the AS is on top. (All double turnovers are easy, of course; simply block push-off or bottom-card buckle.) Turn down the double. Take the top single card and openly move it to the bottom. Snap your fingers (or the cards) and flip over the top card to show that the AS is back on top. Bottom-card buckle or block push-off so that you can take the top two cards as one and move "it" to the bottom (of the left-hand single card). Magical gesture and double turnover as before to show that the AS is back on top. Turn down the double. Again, move the single top card to the bottom. Gesture and flip over the top card to show the AS back on top. Note that these three bottom-to-top transpositions should be done at a brisk (no real hesitations or pauses), but not breakneck, pace. Flip the AS face down again. Slowly slide the ace to the bottom, as you say, "Some people think that I don't really put the ace to the bottom..." Flash the face of the packet - "...but I really do." Turn the packet face down and do Annemann's alignment move in preparation for Quick 3-Way. (Your right fingertips pull back the top card then push it forward again with the center card. The end result is that the center card is out jogged - the top and bottom cards are injogged and aligned.) Pull out the top and bottom cards, as one (they're pulled inward, toward y o u ) , and flip the double card - end for end - face up onto the single remaining card. You're showing the AS. (Fig. 1 shows the "pull-out" starting.) As you do the above, say, "Some people think I keep an extra ace on top..." (Your spectators should be suspicious of that at this point.) "...but that'd be cheating." Flip the double face down and spread the three face-down cards. Pull out the center card, turning it face up "Some think I keep another ace in the middle. That would really be cheating!" Replace the ace to center, face down.
"...and a second king..." Flip/revolve the bottom single card face up to the top. Flip it face down and deal it onto the first tabled card, "...and one ace." Snap the remaining inhand card without showing its face, and drop it onto the two tabled cards. Pick up the 3-card face-down packet, snap it for effect, and flash its face to show that the AS has traveled magically from top to bottom. The packet is face down. Do a double turnover from bottom to top, as described - to show the ace again. Turn down the double. You can simply spread here and show that the ace has
â&#x20AC;˘1120-
jumped from top to center. Bob does this: Take the top card (supposedly the AS, really a king) and hold it about a foot to the right of the other two cards. Flick your right wrist as if sending the ace invisibly through the air to the left. An instant later, your left hand does a Flippant kind of move (I described Flippant in the September, 1978 issue of Apocalypse) springing the top left-hand card (AS) over onto the lower left-hand card. I don't want to describe Flippant again; either look it up, or flip the AS over, quickly, any way you like.
a Flushtration display/count to show three AS's. As you do, patter - "Some think that the secret must be to make each card look like an ace of spades." Leave the AS face down on top. Do a double turnover (regular from-the-top turnover), showing a king, and say, "But the real secret is to make it look..." Turn down the double and deal the top single card onto the table. "...as if no ace..." Flip/revolve the bottom card face up to the top to show another red king, and deal it face up onto the face-down tabled card. "...exists at all..." Flip over the remaining in-hand card to show a "third" king. Scoop it face up under the two tabled cards, and pick up the spread three-card packet, "...when it really does!" Say this last as you turn the center card face up to display the AS. Drop the three face-up cards onto the table. End!
Turn the right-hand card face up and place it onto the face-up (left-hand) ace. Flip the bottom king face up at bottom. Leave the AS centered and outjogged; all cards are face up. Do the outjogged turndown switch. (Fig. 3 shows the situation just prior to the turndown; and Fig. 4 - just as it's completed.) The outjogged card is now a red king; the AS is at bottom. Push flush the outjogged card, square, and show that the AS has traveled to the bottom. Now, do
Jon Racherbawner
Afterthoughts: It starts clean, ends clean, and is pretty clean throughout. It's very good.
Surfer Sandwich spreading of the deck keeps attention away from the left-hand king "sandwich," although no suspicion should be directed toward that if you've handled it all casually and correctly. As you ribbon spread, say, "Your card is somewhere in the deck."
|on sent this to me a few years ago - I don't know why I let it lie around so long. In the interim, I'd had a vague recollection of seeing it used somewhere else - but Jon says he hasn't used it. Perhaps I'm confusing this with Tom Gagnon's Sandwich Spread, which appeared in Apocalypse (June, 1980). It's a similar idea entirely different in concept and method. In any case ... Re: the effect, in Jon's words - "This disclosure looks better than it actually is. That is, laymen will give you more credit than you deserve and the hands-off approach makes the climactic revelation look magical rather than manipulative." Specifically, it's a visual "catch" of a selected card between two mates. Jon feels that the most difficult part is getting a face-down selected card between two face-up mates. The rest - the revelation itself - is pretty easy. I find it difficult to agree that getting the selection between two mates is difficult. There are so many ways. I, personally, would use my Ultra Move to secretly sandwich the card, just as described in AFTERTHOUGHTS (Ultra Sandwich Routine). But the easiest and - I assume - standard way: Assume that the two red kings are face-up on the table and that you've controlled a selected card to the top. Display the two face-up red kings by resting them on top of the deck. Steal the face-down (top) selected card beneath the face-up kings as you square and remove them. Table the deck face up. Then, simply display the kings once more by pushing off (with your left thumb) the top (face) king. Pause to display; then place the single face-up king under the double card. That's it; you're in required position.
0
2 s
-3
K //-
SelecTion With your right hand, grasp the king sandwich from above. With your left fingers, slide the bottom king to the left - about half an inch - to apparently display them again. (See Fig. 1.) It's a safer, and cleaner, slide-out if you buckle that bottom king with your left fingers.
Hold the 3-card packet (spectators think it's a 2-card packet) in left-hand dealing position as your right hand picks up the face-up deck. Immediately table ribbon spread the faceup deck in a straight left-to-right spread. The
â&#x20AC;˘1121-
that the correct card was "sucked" out!
Place the "sandwich" as is (Figure 1) onto the tabled ribbon spread; place it right of center. (Fig. 2.) Then, do a domino turnover of the spread, just as you'd ordinarily do. That is; your left forefinger lifts at the left end (X in Figure 2) and flips over the spread to the right.
Afterthoughts: I've omitted patter and presentation. Use any story line or theme you like. It's just about automatic - the domino turn does all the work for you. Don't let too much time elapse after you've done the face-up ribbon spread. You don't want your spectator to have enough time to see that his card is not "somewhere in the deck." Place the king sandwich onto the spread immediately after making that remark.
Do this correctly - smoothly, and with the proper amount of force - and the domino or wave action of the spread causes the king sandwich to "ride" the wave (like a surfer) to the right. As the kings are lifted and propelled to the right, they'll separate (more to the point - is that the king and the hidden selected card will separate) and fall "free" to the right of the (now) face-down spread. The sudden appearance of a face-down card between the face-up kings is magical looking. It appears as if a card was "sucked" out of the turning spread. (Fig. 3.) Ask for the name of the selected card, and show
Doc Valles
Obviously, you'll have to experiment with just where on the spread to place that king sandwich and, probably more importantly, the degree of force to use when doing the domino turn. Don't do it too forcefully - just enough to cause the king sandwich to separate and fall as in Figure 3. This is one of those things that laymen will remember.
No Visible Means of Support at Fig. 2; it shows "performing" position with a straw or bar stirrer already in place as it would be during performance.
â&#x20AC;˘ H o c liked Dual Control (Lewis Ganson's Art Of Close-Up Magic - based on a G. W. Hunter idea; see also Alan Alan's handling in Tarbell #7, page 108). The problem, for Doc, was (is) that these have to be presented while wearing a jacket. He lives in Hawaii and, in his words, "coats are almost obsolete here." So - he came up with this no-jacket, no-sleeve, handling which can be done with or without a jacket. Although similar handlings may be in print, I think this one should be recorded. You have to be wearing a wristwatch, and you need a length of "invisible" thread. Doc uses the same thread that's used in "floating bill" effects, which is impossible to see on the hand from a very short distance. I'm sure that Apocalytes know what kind of thread to use. The length, of course, will vary according to size of hand and length of fingers. You'll also need a bit of magician's wax. One end of the thread is affixed (with a tiny dab of wax) to the fingernail of your left second finger. The thread moves down the back (and length) of that finger, across the back of the base of your thumb, then around the left side of your wrist to the front of your wrist. The other end of the thread is affixed to the buckle of your wristwatch. (Fig. 1 makes this clear.)
That's basically "it." The straw or bar stirrer magically "clings" to your hand - no visible means of support. Doc also does it with a borrowed, lighted, cigarette. That's strong. If you're careful, it can be done without burning yourself.
What Doc does is to twist his watch around (to the left) - so that its face is at palmar side. In that way, the thread lies only across the back of your hand. Either way is "relaxed" position. The point is that he can do a few other effects while the thread lies at'the back of his hand; it's not in the way, and is never suspected.
And, he also does the "cling" on the back of his hand. (Fig. 3.) He feels that this, too, is strong.
When ready, get to "performing" position. Twist the watch back to normal position (as in Figure 1) and pull the thread over your forefinger. (You might want to practice making it a one-hand action; push your forefinger under the thread that's on the back of your second finger. ) It now goes from the back of your second finger across the front (base) of your forefinger to behind your thumb - to the watch. Look
Afterthoughts: It's difficult to detail exact handling and presentation for this sort of thing. That's obviously got to be up to you. Some may want to try affixing one end of the thread to the fingernail of the third finger. That may give you a bit more stability. I've described it just as Doc does it. The idea of doing a few effects beforehand is obviously a valid one.
â&#x20AC;˘1122'
Jeff Czerbinski
Match Made In Heaven
Richard Tuckerman writes: "I've been playing with the Curry Turnover Change since learning it from CLOSE-UP CARD MAGIC many years ago. My friend, Jeff Czerbinski, seeing me do many long and convoluted routines involving its use, devised the following little gem, remarkable for its simplicity as well as its devastating effect on the lay public. It is, essentially, a streamlining of 'Perfection Do As I Do' as attributed to Al Koran by Lewis Ganson in Routined Manipulation Finale. It's a beautiful routine - no mess, no fuss, no bother!"
Pause for a beat and, during your spectators' reaction, prepare the bottom card of the deck (JS) for the change. As you say, "I know; you're wondering what would have happened if you decided to use my other prediction card," casually turn both face-up cards face down as, at the same time, you change his card (position C, 4 H ) . Pick up the prediction card already shown (A), place it into the deck, and cut the deck. (This is to lose the 4H that's at bottom.) Say, "Well; I'd have to do some real magic." Snap your fingers, or what-have-you, then - turn up the JC at position B and let the spectator turn over his "selection" at C. Mon Dieu! They match!
So it is. To keep this complete, I will teach the Turnover Change (briefly, but basically out of CLOSE-UP CARD MAGIC) in the Afterthoughts. The change can be done with either hand; I'll explain it and the routine as done with the left hand. If you do the move with your right hand, change my description to fit. First, the routine. Give your spectator any deck for shuffling. Take it from him and start spreading the cards faces toward you. As soon as you start spreading, glimpse the top and bottom cards. For teaching purposes, let's assume the top card is the AH, and the bottom (face) card is the JS. Say that you want to predict the card that he will select but, because you don't know him that well (or because this is the first time you're trying it) you will "cover" yourself with a second, "back-up," prediction - just in case the first one is wrong. Rummage pensively through the cards and remove the mates of the top and bottom cards the 4D and JC. The two cards (don't flash them) are tabled face down slightly right, positioned for the Turnover Change. The mate of the top card (4D) is above (north of) the mate (JC) of the bottom card. Then, ribbon spread the facedown deck and let your spectator push out any card; stress the absolutely free choice. Gather the spread, and position the selected (unknown) card to the left of the two predictions. (See Fig. 1; A is the AD, B is the JC, C is the selected card. )
What a good effect this is. And, in my opinion, it's even stronger if your prediction at position B is indicated. Say, "Oh, too bad. You should have chosen this one" and turn over the cards at C and A, exactly as explained - "because that's the correct one." Pause for a beat as you prepare the bottom card. "But since you selected the other prediction card, I'll have to do some real magic..." End just as explained. Afterthoughts: It really is very good; maximum effect for minimum effort. I like to let the spectator turn both cards face up at the end. Obviously, the Turnover Change has to be done cleanly (both times). It is not a difficult move. For completion's sake, and as briefly as possible (I'll teach it as if there's a face-up card on the table; you want to change it as you turn it face down):
Hold the face-up deck in your left hand, just about dealing position. (In action, you'd hold the deck face down as you prepare the bottom card - it's just easier to describe it this way.) With your thumb, push the face card to the right so that you can move your 3rd finger under it. Your 1st, 2nd andâ&#x20AC;&#x201D;^rrh fingers are stretched over and onto the card. Your 1st finger is curled over the deck's outer end. As this is done, your thumb pulls back the card, flushing it. The card is now in Turnover Change readiness. (Fig. 2.) To make sure you're positioned properly, try this: Open your left thumb and 1st finger. The deck should still be held comfortably against your palm, as in Fig. 3. This is important; your thumb and 1st finger must be free in order to do the change.
As soon as you've positioned the selection "ready" the top card of the deck for the Turnover Change. Say that you will let him decide which of your two predictions to use. Let him indicate his choice. Assume he indicates the 4D, the card at position A (I'll deal with B choice in a moment). Say, "I'm sure glad you chose that one," as you turn both cards - C and A - face up at the same time. Execute the Turnover Change with his card (C). The cards match! This example, the 4H and 4D are seen!
-1123.
Okay; back to position. Get ready to turn the tabled card face down. Place the outer side of your left thumbtip onto the face of the tabled card, approximately an inch diagonally away from the upper right index corner. (Look at Fig. 4. ) At the same time, move your left forefingertip under the side of the card farther from you. (Fig. 5.) This is easily accomplished if the card has been crimped or if it's on a close-up pad. In action, what follows is done in a fraction of a second. Start to curl your forefinger toward yourself so that the tabled card bends lengthwise until it touches the underside of your thumb. (Fig. 6; the card is now actually being held by thumb and forefinger.) The change takes place as your 3rd finger straightens â&#x20AC;&#x201D; the prepared card moves along with that finger. Your 2nd and 4th fingers open in order to get out of the card's way as that card moves toward the tabletop. (See Fig. 7.) Your 3rd finger pushes the original bottom (prepared) card all the way onto the table as your thumb pulls the originally tabled card onto (and flush with)the bottom of the deck. (See Fig. 8. ) Your forefinger straightens in order to allow the original tabled card to go all the way "home." At the completion of the change, your 3rd finger is pressing the original bottom card onto the table, and the deck is held only by your thumb pressing it against your palm. (See Fig. 9.)
That's the basic change. There's a bit of a "swing" to the move; an up/down movement as the change is executed. Remember; it must look simply as if you are turning over the tabled card. The change actually happens in mid-air. Look at Figure 5 once again. It is from here that your hand starts its slight upward (natural) movement. Then down, a bit right, as the move is completed. Look - when your forefinger moves under the tabled card, start your upward movement. And, the card is held against the deck with the thumb as your third finger starts to push out the original bottom card - in mid-air. (Look at Fig. 10. ) As soon as this card starts to move out, start the downward movement. Your 3rd finger uses the tabletop as leverage to complete the pushing out of that card. In action, it's one instant up/down movement - and turnover of the(?) card. An action done with the other hand at the same time is the best misdirection. (As in the routine - you're turning over a card with each hand.) Your attention is on the hand that is not doing the change, of course. You might want to check my description in CLOSE-UP CARD MAGIC; it's more detailed. (In that description I mention that, after some practice, you should be able to "throw out" the originally prepared card without the leverage of the tabletop.) For Match Made In Heaven, it is the top card that's prepared first - to turn a facedown card face up. Then, the bottom card is prepared â&#x20AC;&#x201D; to turn a face-up card face down. It's an excellent piece of card magic.
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Bob McAllister The Fastest Trick In The Universe Bob King Key Bender Gianni Mattlolo Illogical Shuffle Mike Bornstein Enlarged Invisible Hole plus much more terrific magic...
Remember - if you photocopy
PUBLISHED, WRITTEN, EDITED:
this magazine,
Harry
you lessen its worth to YOU!
ILLUSTRATIONS:
Robert E. Lorayne
Joe Sqfuto
c^nother Tenkai
This one will take some practice; you'll have to get the actions down, then go over it enough times so that it flows. The effect is the same as the Tenkai Two-Penny effect - a coin magically travels from one hand to the other. Joe uses half dollars.
Close your left fingers around the coin. You've just shown the left-hand coin; now you appear to show the right-hand coin the same way. Your right fist starts to move around, to the right of, and under, your left fist. As it moves, start to open your hand, which automatically brings the hidden coin to full rear little finger clip. (Fig. 3 is an exposed view. In performance, your right hand would open so that the right fingertips are behind your left fist [or under it] at this moment.) Check out the angles.
Display a half dollar on each palm-up hand; the coins are on the fingers, not the palms. The first action appears only as if your right hand closes into a fist, around its coin, and moves to rest for a moment on your left wrist. That's what you really do, except that your hand doesn't close around the coin - it gets it into rear-little-finger clip readiness.
6
It takes a split second, and is done as your hand moves. As your right hand starts to turn down toward your left wrist, and starts to close, your right fingers close under the coin and your thumbtip rests on the coin. This causes the coin to ride over your second and third fingertips as your right hand starts turning toward your left wrist. (Fig. 1 is a stop-action view.)
The entire action is as if simply moving to tap the underside of your left fist. (See Fig. 4, which shows how it looks to you for a fraction of a second.) There can be no pause here - remember, there's supposed to be a coin on your right hand. So, without a pause, your left fist turns fingers down as it moves directly to your right wrist. But - as it turns fingers down release the left-hand coin; that is, let it fall out of the little finger side of the fist. (Fig. 5 is your view of this happening as your left fist continues to move toward your right wrist.) Your left fist rests on your right wrist exactly as your right fist did on your left wrist a moment ago. (Fig. 6.) Again, this is done as an indicatory gesture; you're now showing the right-hand coin. In performance, and it will help if you visualize this, it looks simply as if your right fist moves to your left wrist to indicate the left-hand coin, then the actions are reversed to show the right-hand coin. That's all; right fist to left wrist, then left fist to right wrist.
It's a simple matter for your little finger to clip its edge of the coin as your right fist comes to rest, fingers down, on your left wrist. (Fig. 2 is another stop-action view just an instant before your right fist comes to rest.) Done correctly, the coin is out of spectator view throughout. And, your thumbtip, holding down the opposite edge, keeps the coin flat against the backs of your fingers.
Most of your work is done. Move your left fist to the left, keeping your attention on it, as your right hand simultaneously turns palm down and closes into a finger-down fist. As your right hand turns down and closes, of course, the "pinkie" clipped coin is retrieved; brought back into the hand.
Please remember that the gesture is an indicatory one; you're calling attention to, and indicating, the coin on your open left fingers. As you mention the left-hand coin, flip it over once, toward you, onto the palm by moving your fingers upward slightly and smartly.
open
â&#x20AC;˘1125-
Do your magical "traveling" gesture, then both hands to show that the left-hand
coin has "traveled" to your right hand!
do. I bring the coin back as far as I can without clinking. Then, since I know I'm going to clink anyway, I "save" that clink - complete the retrieval - just as my left fist does its gesture. Then the clink works for me; the spectators hear it arrive into my right hand!
Afterthoughts: The retrieval of the coin from rear clip black into your right hand (try reversing the actions I described to originally clip it) must be done without clinking, of course. If you find that difficult, do what I
Richard Vollmer
Instant Sedaps peels the top card of the two right-hand cards ("two").
The original of the concept discussed here is, I believe, Noel Stanton's; 1-2-3-4-5 - in Gen - June, 1965. Richard read Oscar Weigle's version of that fairly standard plot, the magical reversal of the ace to five of, say, spades (Ennoid - Apocalypse; September, 1983) -- and came up with this clean, no-break, method for the same effect. There are only two moves involved - a Hamman Count and a triple turnover; both quite easy to do under the circumstances.
Do not "peel" the last right-hand card. As you say "one," indicate it (don't flash i t ) , and place it directly to the table with your right hand. Place it to your right. Do a triple turnover of the top three cards of the in-hand 4-card packet (a bottom-card buckle or a block push-off) to show the 2S. "Here's the two." Turn down the triple and deal the top single card to the left of the first tabled card. You are forming a right-to-left horizontal row. Turn over the top card - legitimately - to display the 3S. Turn it down and deal it to the left of the first two cards. "The three."
Openly remove the AS to 5S, or let your spectator do it. Display the five face-up cards in a fan or spread, setting them so that they are in descending order from top (face) to rear. That is; the 5S is the top face-up card, followed by the AS, 3S, 2S, and AS. (Fig. 1.) Square, and hold the face-up packet from above with your right hand.
Do not turn over the next card. Just deal it to row position, as you say, "the four." Your right hand comes back to the one remaining in-hand card. Say, "And the five." Richard does a small "snap" flourish as he says this. Your right hand lightly grasps the card from above, at the ends, and lifts it only about a half inch or so - (Fig. 3) - and immediately lets it snap back onto your left palm. Your left hand immediately turns palm down as your left thumb pushes the card upward - the through-the-hand flourish. The face-up AS appears. (Fig. 4.) "Ah - but this is the ace!"
"If I wanted to bring the ace to the bottom, I'd simply reverse the cards, like this: five, four, three, two, one." Match actions to words - your left thumb peels the 5, then the 4, etc., as you count. This is a straight Biddle-type reverse count. "Now, the ace is here." You can do a fast spread if you like. Turn the squared packet face down. Flash the AS at bottom, and patter - "Of course, I can bring the ace back to the top by doing the same thing - five, four, three, two, one." The face-down reverse count should look exactly as the face-up count looked a moment ago. But - do the Hamman Count. The "move" is done as you say, "three." So; peel the top card legitimately, the second card onto that. As you say, "three," your left thumb takes the remaining right-hand 3-card block as your right fingers take back the two (already-counted)-card block. (Fig. 2.) Without pause, without breaking the rhythm of your count, your left thumb
Place it face up to the left of the row, and as you turn up the other cards, one at a time, moving left to right - "and this is the two, the three, the four, and the five!" Afterthoughts: I never felt that the basic effect itself is an earth-shattering one but, if you're going to do it at all, this is a direct, and easy, method. The Hamman Count (which brings the five cards back to starting posi-
â&#x20AC;˘11261
packet is visible. Then, for the "move," as my left thumb takes the 3-card block, my right thumbtip and third fingertip can smoothly grasp the left-hand 2-card block at the same corners, as in Figure 2.
tion) has to be done smoothly, of course. I like to hold a small packet between my right thumbtip and second fingertip, at the extreme inner right and outer right corners, respectively, almost sideways. The entire back of the
Marvin Steiner
Royal Error
A bit of preparation is necessary, but you most likely can do it while "toying" with the deck. In any case, I believe you'll find that bit of preparation to be worth it. If you can do an Elmsley Count and Braue's Secret Add-On, you can perform this little stunner. Prepare a face-up packet of five cards: AC, AD, AS, face-down KS, AH. (Fig. 1.) Get the three remaining high spade cards (10S, JS, QS) to the top of the deck. If you care about the royal flush showing in correct order at the end, the QS should be on top, followed by the JS, and then the 10S. I prefer the cards to show in order.
wrong at all - please tell me, say so. Okay?" Start to do an Elmsley Count, calling the suit of each ace. But - say, "ace of spades" as you take the first card (it's the AC, of course). Continue the count - "ace of diamonds, ace of hearts, ace of clubs." Call the suits correctly except for that first miscall. Two AC' s will show. You want your spectator to notice this, and say something about it - so work, act, accordingly. (Marvin said it ["If you see or hear anything wrong.."] twice when I saw him do it.) As soon as you have finished the Elmsley Count (last card goes on top), move the face-up packet to, and drop it onto, the deck. Immediately lift the entire deck. By this time, one of your spectators will have said something about having seen two AC' s, or not having seen an AS. Act genuinely surprised as you spread the top few cards - "No, no; I have the four aces here." (See Fig. la.) This is a strange piece of business, and elicits interesting reactions. Some spectators will think they saw wrong, others will be surprised at the magic. It works automatically. In any case, when you spread, spread off four (extra) face-down cards. As you square, get a momentary break beneath the four- face-down cards; that is, beneath eight cards altogether. Show the aces again using the Braue Secret Add-On. Briefly: Grasp the 8-card (broken) packet from above with your right hand, and move the packet to the right. Your left thumb holds back (peels off) the top face-up ace - the AC. Your right hand uses the packet to flip the AC face down onto the deck. (See Fig. 2, which is the "flipdown" in progress.) Repeat with the AH, and then with the AD. Drop the face-up AS four face-down cards hidden beneath it - onto the deck. Flip the AS face down. Openly and deliberately deal the top four cards onto the table one at a time and one onto the other. Pause - then say, "I can't deal myself only four cards in a poker game. That'd look strange. I've got to deal myself the usual five cards." Deal another (top) card onto the four tabled cards. Start turning the tabled cards face up one at a time, as you say, "But, as long as I have five cards, I'd rather have a royal flush than the four aces!" (See Fig. 3.) Afterthoughts: It's a good quickie. I do it strictly impromptu. During a preceding effect, I get the 10S, JS and QS to the top, and the aces and KS onto them, in correct order. Correct order is, from top down - AH, KS, AS, AD, AC. (The AH and AD are first and fourth in any order.) Use the top card to flip the second card (KS) face up beneath it, and you're set. Take off a 5-card block (no spreading), flip it face up, table the deck proper - and go.
To Perform: You're holding the face-up and squared 5-card packet; AC showing. The facedown deck is on the table. Say, "I want to show you the four aces. If you see or hear anything â&#x20AC;˘1127-
Out Tb Lunch
continued from page 1056
â&#x20AC;˘ â&#x20AC;˘ love Italy, and the Italians. It was our first trip to Europe, many years ago. Since we flew so much in our work, we had decided not to fly at all on this trip. We crossed, there and back, by ship (the Cristoforo Columbo going - to Naples, after stops in Portugal and Gibraltor; and the Queen Mary home from England), and used rented cars, trains, etc. , in between. We had to travel by train from the southern part of Italy (Naples, Isle Of Capri, Pompeii, Sorrento, etc.) to the town of Rapallo, on the Italian riviera. In those days the Italian trains were always on time - on the button. (Not so today.) I remember a conductor saying to me, "At 1:12 we here; at 1:22 we there!" It was true. At 1:12, if you had one foot up on the train and the other foot still on the station platform the train went. They waited for no man. Well, Renee and I were traveling first class; we had a compartment with one other person. Two men, in livery, had brought us to the train (that kind of service is a thing of the past, I'm afraid) and when we boarded they heaved all our luggage up onto the overhead racks. (They were with the Ciga Hotel at which we were staying; we stayed at Ciga chain hotels during most of the trip; they're marvelous, or certainly were then.) This was fine; I couldn't have done it myself. I was having some trouble at the time with my right arm - I couldn't raise it without lots of pain. And,, we had lots of luggage; this was part of an 8-week trip. I didn't think about getting all those pieces down. I guess I assumed there'd be a conductor to help me on arrival.
I wasn't familiar with Italy (or Europe) and I hadn't known enough at that time to check which stations we'd pass just before Rapallo. Nor had I checked the scheduled time of arrival (I know better now). We only knew approximately when we were scheduled to arrive, and the train was making lots of stops. So, at each stop I had to stick my head out the window and shout about a half mile (or so it seemed) to the platform - "Is this Rapallo!?!" Finally, the answer to my shout was - "Si, Rapallo!" Well, now the fun started! I began to reach for our luggage and realized I couldn't handle it. Couldn't lift my right arm, and there was no way I could get all those pieces of luggage (6 or 7, I believe) down with only my left arm. Renee tried to "schlepp" the pieces of luggage off the overhead racks. She managed a couple of small ones, but she couldn't handle the large ones. Now, we felt the train starting to move. And, we realized that we weren't even sure where to exit the train. Panic set in! Both of us were yelling for a conductor or porter - "Heeelllp!" - no one in sight. At this point, the little old Italian lady in the compartment, who hadn't said a word all along, went into action! She motioned for us to climb out the window which, fortunately, was large enough. I helped Renee out, then started to hand her (she was walking along with the slowly-moving train) the two small luggage pieces. The Italian lady who was now standing, and with seemingly little effort, pulling my luggage off the overhead rack, motioned for me to forget the luggage and get out the window. I must have looked panic-stricken about leaving the luggage, and this marvelous lady pantomimed that she'd toss it out the window.
The train departed. We had a terrific lunch in the dining car; everything was just fine. Then, I realized that we were on a long train; many cars. The first-class car was near the end of the train. Ordinarily, no problem. But, when we stopped at a town, it was the front of the train that was at the actual station, at the platform. Being at the tail end of the long train, we couldn't see the name of the town we were in! We saw the station (town) sign as the train was leaving, and the firstclass car passed it.
She did! I climbed out, at risk of life and limb because the train was moving faster now. And as it picked up speed, one of our large luggage pieces flew out the window. Then another, and another, and finally the two small pieces !
The one other person in our compartment was an old Italian lady. Typical peasant kind of "Italian mother-in-law" look of that time. Iron gray hair pulled back in a tight bun, and she wore a long black dress. She hadn't said a word during the trip; she obviously didn't speak English; and I spoke no Italian at all.
As the train disappeared from view my wife and I, both of us close to tears of frustration, got some relief of tension as we looked at the line of our luggage strewn along the tracks all the way to the platform - and started laughing hysterically!
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Lofayne's VOL 8 NO. 11
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NOV., 1985
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|he concept is a topological one. The effect is a strong one. The topologtcal effect is a new one. It's difficult to believe that the position change of one quarter of a card changes the positions of all four quarters! The title could have been "Inside Out." That's the basic effect - a card magically and instantly turns itself inside out. The concept is simple and the effect is fairly quick but, since I'd like to teach it just as Bob does it, including all his excellent touches, my explanation may be long. One cut prepares a card. You can use scissors, but a razor blade, an Exacto knife, makes a cleaner cut. The cut is critical. Use a picture card; the slit is just about completely hidden when a picture card is used. Cut from exact center of an end to exact center of the card. (See Fig. 1; the dark line is the cut.) Put this card into your deck, make sure you have a $1 (or any denomination) bill available, and you're set. To Perform: The $1 bill is folded in half and lying on the table; the direction of the fold will clear for you as we continue. Take the prepared card out of'the deck, and holding it at the edge of the cut end between your right thumbtip (on the card's face) and forefingertip (on the card's back), flash front and back; the cut can't be seen. Patter: "I want to show you
â&#x20AC;˘1129'
than the upper end; perhaps a 32nd of an inch shorter. (Fig. 5; this is the view you and your spectators see, except that I've purposely moved out the underneath fold so you can see it now for learning purposes.) At this point, you can do an optional "move." You can continue, or you can fold that underneath quarter back up toward you, and over onto the upper quarter. In other words, you're folding the other way. Then fold it back the way it was (Figure 5 ) . This is to make it easier for you to secretly move the flap (the cut quarter) later - as you'll see. Bob and I do not bother with this.
the fastest card trick in the world." Do not move too quickly now - that's the point, or the gag. You're going to fold the card into quarters without, of course, exposing the slit. The palm-up left hand moves palm to face of card and grasps the outer end's left and right corners with thumbtip and second fingertip. Those two fingers will fold the card in half lengthwise. (Fig. 2 shows this just starting.)
Now; because the lower folded-in-half quarter is a trifle shorter you can lift the upper folded quarter by simply pulling up with your left forefingertip. Do just that. Be careful here; don't just "riffle off," you may lift off three thicknesses and flash part of the card's face where no face should be able to flash. If you're working along with card in hand, you'll know just what I mean. Lift only two thicknesses - the folded upper quarter. Lift enough to put an upward bend in that upper quarter. So far as your spectators are concerned all you're doing is displaying the fold. (Fig. 6; stop-action. ) It is a fraction-of-a-second action in performance; just lift and release. Your right hand holds the folded card at its "closed" end as your left hand picks up the $1 bill. The bill is folded once in half, Washington side outward. Washington is facing your audience, and the side that has the serial number closer to you is up. Place the folded card "around" the right ("closed," Washington) end. The upward bend you put into the upper quarter (Figure 6) facilitates this, makes it smooth. Pause. (Fig. 7.) Show your left hand to be empty. Your right hand can turn palm down, then up again, to show both sides of the "package." All looks perfectly normal.
Fold that outer end in half as your right forefingertip remains on, presses down on, the slit. Your second fingertip moves onto the outside of the inner end and your thumbtip moves out and onto the nearer fold at the inner end. That forefingertip pressing down on the slit is what keeps the slit from spreading and/or being seen. If it (the slit) should happen to be off center, the pressure of your forefingertip will center it. Your right thumbtip and second fingertip press tightly against each other, keeping that inner cut end (the two separated long halves) stationary. Your left fingers haven't creased their fold yet. (Fig. 3 - spectators' view, except that I've allowed the slit to show [dark line] for teaching purposes.) Although you're not moving especially rapidly there are no perceptible pauses; crease the fold at the outer end, and move smoothly into the next (and the final) fold. Fold the right-hand, cut, end under - away from you - up to the left end. (Fig. 4 shows it in progress.) Complete and crease the fold, but don't fold perfectly end to end. I.e., the underneath, cut, end is folded a fraction shorter
8 â&#x20AC;˘1130-
Actually, it isn't your right hand that brings back that single quarter, card; your left hand is moving toward you, turning palm down. I guess it's a combination of both hands moving. The face of a quarter comes into view. (Fig. 10 is an exposed view.) At this exact instant, you should be saying (continuation of your closing patter), "...and turn it inside out..." Grasp the right side (at center) of the exposed quarter card, thumbtip on top, as your left hand slides the bill to the left. (Fig. 11.) These are stop-action illustrations; there aren't any pauses at all during this last sequence.
Grasp the package at the left with your left hand and show your right hand to be empty. The patter here: "Do you happen to remember the name of this folded card?" The answer is immaterial. "Approximately how long would you say it took me to fold the card?" As you talk (the package is held parallel to the floor), your left forefingertip lets the lower single-card quarter flip off; your second fingertip is at position to grasp that single quarter between it and your forefingertip. (Fig. 8 is a worm's eye view just before that second fingertip does its "grasp.") In performance, again, this is the work of an instant and nothing is seen. You can even turn your left hand palm down then up again, quickly; all will still look normal. Now, the magic is about to happen. The entire action must be timed to your patter. This is difficult to teach. I'll try, of course, but it will clear up for you when you try. Only the left hand holds the package as described - as in Figure 8. You've just received the answer to your last question; it could be anything from "Five seconds" to "Twelve seconds;" whatever. Say, "Well obviously, that wasn't the fastest card trick in the world. I'm about to do that for you right now. And, I'll even tell you what I'm going to do before I do it, something that magicians rarely do. I am going to take this card..." Point to the card on the bill with the right forefinger, and start the secret "move" as you start this sentence. Here's the start of the move: From your pointing gesture, and from now to the end of the sequence, move rapidly - move your open right hand to the front of the package, palm toward the package. Your audience is now in front of you; the back of the right hand shades all. And, again, the move is the work of a second - my explanation is the work of much more than that. As your right hand moves to the front of the package, your left second fingertip moves off the single quarter card's end it has been holding. That quarter card springs out (down, actually) due to its natural "springiness." Your right hand does not stop moving as your right 3rd and 4th fingers contact and move that single quarter toward you. (Fig. 9; your view.)
As you end the remark - "...before you can read the first digit of this serial number," end the "move." Turn over the bill by turning your left hand palm up; your right hand points to the serial number with a corner of the folded (now face-up) card. The serial number will be facing your spectators correctly. (Fig. 12.) Your left hand drops the bill. The card has turned inside out. Where only face-down surfaces showed, only face-up surfaces will show now!
9
Your fingers are holding at the center of the folded card's right side. Turn your hand palm up and relax the fingers. This allows the folded card to naturally "open;" face-up surfaces are seen. (Fig. 13.) Your left hand holds at the left double thickness and both hands open the fold. (Fig. 14.) Now - choices. You can turn over both hands, turning over the foldedin-half card, to flash its other side (the slit won't show) then pocket the card.
Right here, incidentally, is the reason for the optional under, over, and back under folding that I told you about before. If you do that up-then-down-again fold it makes the single quarter card move with less resistance now. As I said before, it isn't really necessary. (I'm sure you're strong enough to "bring back" that single quarter card without extra "help.") â&#x20AC;˘1131'
Afterthoughts: Boy, this is good! It's the kind ~cyÂŁ magic I look forward to bringing you, and the kind of magic you should look forward to receiving, and performing. The idea is in Bob's lecture notes, among other goodies.
Bob flashes the other side, then back to the uncut side, then he tears the half card in half - along the prepared cut, of course. Toss the two long halves onto the table. Each long half will have a portion that's very "cleanly cut." I don't think anyone will notice. You can pick up the halves and tear them some more in order to cover that. What I like to do is to tear as explained, turn over both hands in order to flash the other side (face surfaces) of each still-folded long half, then nest one into the other facing the same way - then open both long halves and tear across the crease into quarters. Toss the four pieces onto the table. Use whichever you like - up to you. (Bob pockets the pieces, or tosses them into a dirty[!] ashtray. No one is going to bother taking them out [and getting dirty] in order to look at them closely! )
Another ending idea Bob uses and you may want to think about; here's just the concept: At the end, tear off a single quarter and put it into a pocket. Really bring it out again and pretend to tear another quarter off the package. Show the same loose quarter. Pocket it; really bring it out. Tear off(?) another quarter, etc. (I believe this is a Paul Harris idea.) And the ending is to use one quarter (the only loose quarter) to fan the other three torn(?) quarters - and restore those three! I have to leave this to you. I'm sure variations of the theme will be coming to me. Bob's basic idea, the way it's routined in the text - is a beauty!
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Dick Koornwinder
Smart Scissors
I saw Dick (he's from Holland) perform this once - it fooled an entire audience of magicians. He showed me how it was done very quickly during a busy convention. I made no notes and was trying to keep about seventeen other, complicated, routines in my mind at the time. So, I hope I teach this as Dick does it. Even if I'm a bit off, you'll certainly get the idea.
so on, until some of the "sticky" substance wears off. The point is, you don't want the selected card to adhere to the prepared card too strongly, as you'll see. You'll have to experiment a bit. (Folding a piece of regular onesided tape around itself serves about the same purpose.)
Basic effect: A freely selected card is shuffled into the deck. The shuffled deck is wrapped in a paper napkin. You pierce the paper with the points of a pair of scissors, move into the deck - and come out with a card between the blades. It's the selected card! What you need, what just about does the entire trick for you, is a small piece of double-sided transparent tape. Dick doesn't use regular double-sided transparent tape. It is tape that's stickier on one side than it is on the other! It's industrial tape and put out by the 3M Co., the company that puts out Scotch tape. You may have to call the company to find out its style number or name. If you find it, a small piece is affixed onto the center of the face of one card - the stickier side on the card, less sticky side exposed. If you can't find it, use regular double-sided transparent tape. "Lessen" the exposed surface's stickiness by affixing the card onto a surface, removing it, affixing it, and â&#x20AC;˘1132-
Okay; the card with the piece of tape at center face is at bottom of the deck. Hand to hand spread for a free selection of a card. As it's looked at and remembered, square the deck and do a "kick" (swing) cut. Let the selected card be replaced onto the left-hand half deck. Drop the right-hand half (taped card at bottom) onto the left-hand half but stepped inward about an inch or so. (Fig. 1.) Press down with your thumb to assure that the tape adheres to the selected crd, then overhand shuffle the deck the long way. Grasp the deck so that the lower half points upward, and shuffle sloppily. (See Fig. 2.) The sloppiness hides the fact that a card is protruding. Hand the unsquared deck to your spectator; place it into his (or her) hand a long side first and tell him to hold tight. (You want to "protect" the ends of the cards.) He's asked to hold the deck while you reach for the paper napkin. Dick has the spectator initial the paper with his free hand. (Not crucial of course - up to you. It does keep the spectator's hand busy.)
cause the selected card to extend cleanly from the inner end of the deck, as the rest of the cards square. (Fig. 3.) Remember; you're wrapping the deck as you do this, so all is shaded. And yes, you have to keep track of the correct end of the deck. If you thrust forward the incorrect end, the key card will protrude, not the selected card!
Then, take the deck and as you start to wrap the napkin around it, do a forward movement with the deck; your forefinger is curled around the outer end to keep cards from falling, etc; it's a standard action. What it does is to
Wrap the deck loosely and keep the injogged card toward you. Pick up the scissors with your right hand, and ask for the name of the selected card. Then, insert the blade points at the proper end, tearing the paper at that area.
Now, you'll have to experiment as to which blade (after opening them slightly) should go "in" first, the upper blade above the protuding card or the lower blade under it. And by twisting the scissors a bit, separate the selected card from the tape - which is why you don't want that tape to be too sticky. Then, gently without cutting it - pull out the card! (See Fig. 4.) Afterthoughts: Good idea, good effect, good thinking. Practice and experiment a bit as to how much to step the halves which controls the distance of the jog, and how loosely and sloppily to wrap the deck so as not to expose the protruding card. The sloppy overhand shuffle is important; it hides all, and makes it appear quite legitimate - as if the selected card really is lost.
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Bob King
Key Bender
Bob has been using this to good effect for some time now. I have no idea how many methods there are for secretly bending a key. I'm sure there are many. You can add this to the total.
Either borrow a handkerchief or use your own. Using both hands, show the handkerchief, keeping the brass tube hidden - in the standard way. Then, drape it over your right hand. As you do, change the grip of your right hand around the tube so that your fingers curl around it; the tip of your thumb is near the top of the tube. (See Fig. 1.)
What you'll need is a brass (or any hard metal) tube about two and a half inches long and perhaps half an inch in diameter. When you see how it's used, you'll know exactly what you need. Then, somehow, you'll have to find, or make, one. You'll also need a handkerchief - it can be borrowed.
Borrow a regular-type doorkey; show it on all sides. Then - place the narrow, business, end of the key down into the tube through the handkerchief. That is, a "tuck" of cloth goes down into the tube with the key. The other, wide, end of the key remains in view.
To Perform: I'll leave the presentation, the buildup, to you. It can be done standing or seated, and just about at any time. The tube is palmed in your right hand - one end is against the pad of your second fingertip, the other end is against your palm, at about center.
Raise your right thumb only slightly and its tip is almost automatically pressing outward against that wide protruding end of the
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forefinger opens and moves to the front of the handkerchief, as if to stroke it between your forefinger and second finger. Your other right fingertips should be almost at your left sleeve opening at this point. (See Fig. 3.)
key. (Fig. 2.) It's as you patter a bit and say that you want one of the viewers to hold the key through the handkerchief that a slight push with your right thumb puts the bend in the key. It's the leverage of the tube that does it of course, and - according to your strength, the tube, the key, and so on - a "slight" push with your thumb should be all that's necessary. It's in the act of offering the key and handkerchief to a spectator to hold that you "get rid of" the brass tube. Your left fingers grasp the key through the cloth and hold all in place as your right hand moves downward, taking the tube off the key. As your right hand moves down, re-palm the tube as it was at the start. Easy enough; since the handkerchief covers all. As soon as you've re-palmed the tube, move your right hand up again (still under the handkerchief) and grasp the key.
Now, a bit of pressure of your right palm against its end of the tube will "squirt" the tube - off your right second fingertip - into your left sleeve! Your right hand immediately slides down, stroking the handkerchief, to the handkerchief corners. Hold those corners with your right first and second fingers as your left hand offers the key to be held, through the handkerchief, by your spectator. The rest is buildup. Do your mysterious passes around the key and, eventually, let him look at the key to discover the bend! Afterthoughts: If you're seated during performance, you can lap the tube instead of sleeving it. After putting the bend into the key, move the handkerchief back toward you and let the tube fall into your lap. The draped handkerchief covers all. I've never done a key-bending effect, so I don't know whether it's best to borrow a key that's not a "working" key. In other words, can a bent "working" key be straightened so that it still operates properly? If not, doesn't that create a bit of a problem with, and for, the person who loaned you the key for the "experiment"? If it has to be straightened, should it be done magically? Just wondering. Of course, you could use your own key - having it examined and marked before the "experiment" begins.
Your left hand lets go and your right hand turns over to let the handkerchief drape over the key, the handkerchief corners falling downward. Grasp the key, and the cloth, with your left hand as your right hand lets go and moves to behind the handkerchief, just below your left hand. Your right palm faces you now. Your
David Regal Clearly Impossible Tonny van Rhee Packet Palm Howard Cohen Double-Take Coins John Quine Two "Cut Deeper" Forces Ken Klosterman A Whole Lot Of Money plus Richard Goldshot, Ron Ferris, and more...
Remember - if you photocopy this magazine, you lessen its worth to YOU! rr
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PUBLISHED, WRITTEN, EDITED:
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Harry
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ILLUSTRATIONS:
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Robert Lorayne
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Gianni Mattiolo
Illogical Shuffle to do at first, but then - it just happened. It is the opening of the deck to a " Z , " or an "N," according to how you're looking at it.
|his isn't really a "shuffle," it's a "flourishy" showoff kind of two-handed cut. It looks wild in Gianni's hands and is probably the kind of thing you have to see. It took some five or six tries before I could get it working and that's with specific and personal instruction from Gianni. The problem - the challenge is to see whether I can teach it to you here, in print. If you don't try to follow along with a deck in hand, forget it.
What actually happens: Your right thumbtip pulls away about three-quarters of the deck (at the inner end); then (at the same time, in performance) your right fingertips pull away about half of the moved portion (from your left forefingertip). This instantly forms the Z. Let's call the three sections A, B, C as in Fig. 3. After some practice, the deck opens (accordions out) to this position instantly.
First, the two-handed grip of the deck. It is held up near your left fingertips. (Fig. 1.) You can perform the "shuffle" with either the short (forefinger) end of the deck upward (as in the illustration) or with the long (thumb) side upward. After you have it working, you'll have to decide which looks better.
6
Okay; grasp the deck from above (palm toward back of top card) with your right hand; thumb at inner end, fingers at outer end. Your second and third fingertips should be on that end's right side; your little fingertip is just off the deck and your forefingertip is "free." This reads complicated, but is really just a natural grip. (See Fig. 2.)
8 There are no pauses in performance; I have to break it into steps for you, of course. As soon as the Z is formed, your right forefinger "kick" (swing) cuts part of the top section (section C ) . That's the reason for keeping that forefinger free. As you cut (this cut forms section D) , raise your right second finger, leaving only your right third fingertip on section C. The pad of your right thumbtip is the fulcrum point for the inner ends of B, C and D; the pad of your left forefingertip is the fulcrum point for the outer ends of A and B. (Look carefully at Fig. 4.)
The first step of the "shuffle" looks very good, and can be done in a flash. Gianni tells me that it has been in print, but that he came up with it independently. I found it difficult
Again, no pause. The next step is a double action, but I'd better describe each action separately. Your left thumb and third finger move section A (lowermost section) as far downward as possible; that is, as far as your left forefinger can stretch. (Fig. 5.) At the same time, your right third finger moves the section it's holding (C) downward. Just move the outer end of that section away from you and down. You may want to move your whole (right) hand a bit away from you and down. What '."his double action
â&#x20AC;˘1135-
accomplishes is to bring section C just about parallel with section A. (Fig. 6. Note that if you extend your left thumb and third finger, they'd be in position to grasp section C at C's sides. )
experiment in order to decide if it looks better with the deck held vertically or horizontally. It can be done either way. Also, as you keep doing the thing, you'll see that it all looks more effective (more difficult) if you spread out the sections. In other words, keep as much space as you comfortably can between sections.
Do just that - grasp C's sides with your left thumbtip and third fingertip. Hold section C in place with left thumb and third finger as your right third fingertip moves off that section - and your right hand (thumb end) moves upward, right thumbtip taking along (the inner ends of) sections B and D until they clear A and C. (Study Fig. 7.)
Gianni uses this as a shuffle - usually as he mentions "shuffling the deck." The top and bottom sections (A and D) remain in place, so the top card (force card, perhaps) also remains in place. This fact may be obvious to you, but it isn't to your spectator. (The two center sections interchange.)
Keep moving your right hand, and sections B and D, until those two sections can be placed cleanly onto sections A and C. (Fig. 8.) Square the cards, and the "shuffle" is completed! Afterthoughts:
To
There is a certain "swing" that Gianni creates as he does the shuffle, which makes it look "extra" good. Work on it...good luck!
repeat, you'll have to
Mike Bornstein
Enlarged Invisible Hole Hole. Insert the coin to center (between the two halves) of the bill. Its lower edge enters the slit, of course. From the front, all looks perfectly legitimate. (Fig. 4; spectators' view; the coin's lower edge is really in the slit.)
good piece of creative thinking here. The Invisible Hole (Yoshio Hirose); March, 1985 issue of Apocalypse is an excellent effect. As you know, the general idea is that a pen penetrates a $1 bill without leaving a hole. (I'd suggest you check back to the March, 1985 issue so that you'll know what I'm talking about here and now.) Mike loves the effect, as does anyone who has tried it. He uses it often, but he also uses his variation wherein a coin visibly penetrates a $1 bill. The bill is prepared with a slit near its right end, exactly as for The Invisible Hole except that it must be wide enough to "take" a quarter (which can be borrowed, or a half dollar). This can also be done with a borrowed $1 bill; you'd "tear in" the slit as your spectator searches for a coin. The impromptu preparation is explained in detail in the March, 1985 issue. (Fig. 1; the dark line at the right is the slit.) You also have to prepare a pay envelope. The one Mike gave me is prepared from a standard size - approximately 3" by U\". You can use a narrower envelope if you like; the size isn't crucial, so long as a bill fits into it easily. Cut off the top flap - and/or about a half inch of the top of the envelope. Then cut about an inch and a quarter from the top of the front surface (only); leave the back panel. Finally, make a triangular cutout at bottom center. (See Fig. 2, which makes it perfectly clear.) When the prepared bill is folded so that the front half covers the slit (it isn't folded exactly in half; the front part is a half inch or so beneath the rear part - all as described in detail in the above-mentioned issue) it is put into the envelope. Both ends of the bill must show at the top; the center fold shows through the cutout triangle. (Fig. 3 makes that perfectly clear.)
Stop there and change hand positions so that your right thumb is holding the coin in place and also calling attention to it; your open left hand is at the bottom of the envelope at the triangle. (Fig. 5.) When you're familiar with this, you'll probably hold all just a bit differently. Let go of the coin with your right thumbtip and let the coin slide down. You may have to give the package a slight shake or two. The coin slides out of the triangular cutout. (Don't let it drop out too quickly; it should slide out so that the "penetration" is seen.) It looks exactly as if the coin is "blending" through the bill. (Fig. 6.) Let it slide out onto your left hand and toss it out onto the table.
Hold the envelope with your left hand so that your left thumbtip is at the rear just beneath the area where the bill's slit would be. This is to facilitate the coin's entrance into the slit - again, as explained in The Invisible
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Remove the bill, drop the envelope onto the table, and open the bill to show that there is no hole at its center. Snap it once or twice to prove the point - your right fingers cover the prepared slit - and put it away. Afterthoughts: I believe Mike uses a half dollar - the triangular cutout at bottom of the envelope he gave me just "takes" a half dollar. If you intend to use a borrowed quarter, the triangle should be slightly narrower. You'll have to decide which is more psychologically sound - using your own or a borrowed coin. If you use your own, suspicion is drawn to that, and away from the $1 bill. Up to you. If you use a half dollar, the prepared slit should be a trifle narrower than an inch and a quarter. If you use a quarter (25ÂŁ piece), an inch is just about right.
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Well; I can only suggest again that you check out The Invisible Hole in the March, 1985 issue of Apocalypse, if you have not already done so, to get the basics. Then - try Mike's version. Both are excellent!
the blank-backed 4S -- blank side up. Then, a blank-faced card, blank side up, followed by the 4S-backed blank, blank side up, then 2 remaining blanks, blank sides up. Packet is held face down when ready to perform.
^CTiB excellent piece of magic - a "packet" routine. It evolved from 2 effects (Sequence by Larry West & Transprint by Bill Taylor) marketed by Art Emerson & Larry West. Dick blended the 2, & all the above gave permission to run Transequential in Apocalypse. The effect is that 4 blanks are magically printed to become the AS, 2S, 3S, 4S - then, those pips are magically transferred, one at a time, to 4 other blank cards. This required change & modification of the gaffed cards & the moves & handling. Some moves belong to Larry West, Phil Goldstein and others.
Dick starts, f-d packet in hand, saying, "As you've seen, I do many things with cards. I've spent some time studying them - studying their history, and technology. You might think it silly to talk about 'technology' of playing cards - but I'm referring to how they're printed. You see, they have to start with cards that are printed only on the backs, just like these. (Display back of packet; you can spread off 2 cds.) The fronts, the faces, are still blank."
Transequential is extremely magical & entertaining - I've seen Dick perform it. It is not going to be easy to teach or for you to learn, because I want to include some of Dick's patter. Teaching handling, moves, patter, all at once tends to break the continuity & flow of the routine. But, I have no choice. You'll have to go over it a few times; then it'll start to blend & flow for you. To save space, I'll teach it in "staccato" fashion. (Lft, rgt = left, right; lh-rh = left hand, right hand; cds = cards; fu-fd = face up, face down; & = and.) You'll have to do a Hamman Count, a Jordan Count, an Elmsley Count, and various standard moves. You'll need the following cds: 4 regular backed with blank faces. On the back of one of these blank cds, print a 4S. You can do this with pen & ink, but Dick uses the rub-off pips called Transfer Trickery (marketed by Haines House of Cards) - handy thing for making gaffs. The pips, numbers, in black or red, rub off onto the cd. It's like Letra-Set, Press-Tape, etc., makes real-looking cd. Then, you need a regular AS, 2S, and 3S, with backs matching the blank-faced cards. Finally, you need a 4S with a blank back. Once you have these, they can be used over & over again. To make this clear, build set-up on table: First, place f-u AS (regular card) on table. Onto that, place f-u 2S, then f-u 3S, then
Turn packet fu to show blank face. "I got these from a manufacturer before he finished printing them. Look." Show 8 blank faces via a Hamman Count, counting aloud. You're holding packet from above with rh. Lft thumb peels off
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As you do this, say, "Well, we've printed two cards, the ace and the deuce. Now, I'll print the next one; that's this one, the 3..." To demonstrate last remark, square 4 cds getting momentary break beneath 2 top cds. (Only reason for outjogging AS & 2S. Do my no-break, no-preparation, double lift from 4 cds, out of QUANTUM LEAPS, pg 19, & no outjogging needed.) Double turnover showing blank face; leave double on top, blank showing. "...semi-visibly. Watch; I'll cover it with a face-down card."
1, 2, 3, 4 cds into lh. On count of 5, lft thumb takes all remaining r-h cds as rgt fingers take all 1-h cds - the packets are switched. (Fig. 1. ) No break in counting rhythm, of course. Continue peeling off with lft thumb, counting 6, 7. Turn over rh to flash back (of double cd) , count 8, & place double onto 1-h cds. You've counted 8 as 8, hiding the A, 2, & 3S, showing all blanks. Count off 4 cds from top, reversing order. Turn this 4-cd packet fd & place to upper lft of close-up pad. "I'll put these aside for a moment, and demonstrate with the remaining four." You're holding 4-cd packet, blank showing on top. Flip packet fd, & say, "On these four blanks I'd like to try to print the ace, two, three and four of spades. When you print blanks, one thing is essential - the blanks must be kept in their proper sequence!"
Take bottom f-d cd & place on top. Immediately do Elmsley Count, saying, "One card face down, one face up, and two more face down. (The cds show that way. Last cd goes on top.) Now, watch!" Give packet 3 pops (hold diagonal corners or ends, & wiggle.). "Did you see that? That's all it takes to visibly print the 3." Elmsley Count again, revealing 3S. Last cd of this count goes to bottom.
At this point, show 4 in-hand cds as 4 blanks, counting to 4 as you do. These 4 really consist of, from top down, the f-d A, 2, 3, & 4S-up blank back. Do the Flustration Count, but your verbal count is "off-sync". Like this:
"Of course this creates a problem, because now the three is on top. We don't want the 3 on top." As you talk, turn 3S fd on top, out jog it. Lft forefinger pushes it down (flush) as rgt fingers pull out 2nd cd. (Fig. 2.) This is to "shade" blank back of 4S at 3rd from top. Rh cd is placed on top. "We want this card on top, because this one is which card?" Should get "the four" as answer. "That's right; the four." Triple turnover - revealing 4S!
Rh is holding f-d packet from above. Turn over hand & packet, to flash blank face, & say, "You see, #1 must be followed..." as you flash it. Turn packet back to position as lft thumb peels off top cd - as you peel it, say, "...by #2." Say, "Which is followed by #3." Flash bottom blank again, turn down & peel. Flash face (blank) again - this is double cd - then place these fd, as one cd, onto 1-h cds, "Followed, of course, by #4." Go over this carefully - it works! Then, "The next important thing to remember is that this card, #4, must be on top." Demonstrate by pointing to top cd then doing double lift, displaying blank face. "If that card is on the bottom..." Place double cd fd to bottom, & square. "...It won't work at all. #4 is now on bottom..." Turn packet fu to show blank, then turn fd again. "...So, I'll have to reverse these to get them to proper sequence." Do Jordan Count, showing 4 backs. (Lft thumb peels one cd, then it peels 2nd cd onto 1st. For 3 count, 2 1-h cds coalesce to bottom of 2 r-h cds, & rgt thumb does 3-cd push-off. Remaining r-h single cd goes onto 1-h cds for count of "four".) "If I've done that properly, #4 is now back on top." Do triple turnover (easy with 4 cds; bottom-cd buckle, or 3-cd block push-off) showing blank face. "Ah; there it is - #4 on top. I know - you're wondering how I know that this particular card is #4. Well, it's quite easy." Take top f-u triple, as one, into rh (buckle or push-off again). "The cards are always in sequence; so, if #4 is on top (turn triple cd fd & replace onto single 1-h c d ) , then there must be an ace on bottom." Turn over entire packet, revealing AS - this is magical! Hold packet fu, & say, "I'll put the ace on top." Openly move AS from face (exposing a blank face) to bottom (rear). Flip packet fd. "The ace is on top." Thumb off top cd into rh, & show its face. "Of course, if this is the ace the next card can't be the four, it must be the deuce." Use r-h AS to flip over top 1-h cd; 2S. 2S remains, momentarily, fu on top of 1-h cds. Turn AS fd & place it fd & outjogged to bottom. Then flip 2S fd & place that fd to bottom (under A S ) , also outjogged, & aligned with AS.
"The four always goes on top." Do triple turnover, turning block (4S) fd. "So, we've printed four cards." Elmsley Count to show 4 backs, last cd to top. Turn packet fu, deal cds singly to table, in spread condition, reversing order, as you say, "The four, the three, deuce, and ace." Leave in tabled, spread, condition. Indicate f-d packet that's been at outer lft of close-up pad all along. "Here, we should have some blank cards." Pick up packet, turn fu & spread cds, showing all blanks. Square & turn packet fd. Elmsley Count, counting 4 cds. Turn packet fu. Deal cds singly to table, leaving them in overlapping (spread) condition (also reversing order), as you say, "I would print the 5, 6, 7, and 8, but I'm running out of ink. So, instead, I'll just transfer the spots, or pips, from the four cards I just printed to these 4 blanks." Pick up 4 blanks, still spread, & drop onto the "printed" spread, forming one large spread. This is convincing display. Pick up 8cd spread, square & hold in readiness for Hamman Count. What follow may seem difficult, but really isn't; some breaks & steals involved. Lft thumb peels off top 3 blanks, one at a time, counting, "one, two, three." As you peel & count 4th cd, hold lft little fingertip break beneath it. Without breaking rhythm of count (throughout), peel off 5th cd, the AS but, as you do, steal back 4th "broken", cd to beneath r-h packet. Maintain lft little fingertip break beneath AS. Repeat this as you peel off 2S; that is, steal back AS as you peel 2S. Maintain break beneath 2S. Peel off 3S; no steal this time. Place remaining r-h 3-cd block (4S shows) as one onto 3S. You have lft little fingertip break under 5 cds (beneath 2 S ) . You've just shown 4 blanks 6 AS to 4S. Now, in appearance, you simply separate 2 packets. What actually happens is this: As rh takes upper (above break) block,
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lft thumb keeps (Fig. 3.) That's all blanks, & lh you've exchanged
back-up, card is assumed to be 4S. Place the 3 spread blank cds back to table position, as rh holds supposed 4S over f-d tabled packet. Say, "Watch; the four will go visibly. Really! Don't take your eyes off that four."
4S in place. Slip cut really. all; looks as if rh is taking retaining AS to 4S. Actually, 3-cd blocks.
As checkpoint: Apparent blank packet is, from top down - 4S-backed blank, blank-side up; then f-u AS, 3S, 2S. Other packet, top down f-u 4S (blank back), the three blanks.
4
Place f-u, apparently-printed, packet to outer rgt area of pad. Place apparently allblank packet to outer lft area. Now, pantomime pulling AS & 2S, one at a time, out of "printed" packet - & tossing into "blank" packet. Pick up blank packet & Elmsley Count. This reveals blank, AS, 2S, blank. Last cd goes to the top. Place packet back to pad position.
Finger snap f-d 4S(?). "Did you see it go!?" Turn over to show blank. Place this blank onto other 3 (spread) blanks, forming a 4-card spread. Pick up the f-d packet, turn fu; "Those spots or pips should be here, now." Do what Dick calls a "half" Elmsley. Peel off AS, just as for Elmsley. Push off next 2 cards, as one (2S), also as for Elmsley, but do not steal AS back as you'd ordinarily do. Instead, place the last card (3S) onto spread AS & 2S as, at same time, rgt fingers pull out lower cd of 2-card block (card beneath 2S) - the blank. (Fig. 4.) This makes it appear as if cds are AS, 2S, 3S, & blank - in that order. As you do count, say, "So now we have the ace, the two, the three and of course - the â&#x20AC;&#x201D; oh, oh." The blank, of course, is supposed to be 4S. When blank shows, act surprised - stunned for a beat. Then, "Do you know what I did? There are two things you have to remember when you do this. First, you have to keep the blanks in the proper sequence, as I explained. (Gesture toward 4 tabled & spread blank cds.) And this packet (in-hand packet) must be face up. Before, I inadvertently left them face down. And when you do that, do you know what happens? You get the pips here, on the back of that card!" Turn over blank to show 4S pips on its back! "There isn't much you can do with a deck of cards like this - so if you ever try this, keep the blanks in proper sequence, and remember when to keep them face up and when to keep them face down; if you do both those things correctly - you can print your own cards!"
Pantomime pulling & tossing 3S from printed to blank packet. Pick up blank packet, & making it look like previous counts, do real reverse-count from one hand to other, holding in spread condition. This reveals blank, 2S, AS & then 3S. Place 3S to bottom of spread. Display, then square & turn fd. Place f-d packet back to table position.
End handling that sets cds so that you can repeat routine immediately: Table 4 spade cds in spread - the 4S is a back, of course. Pick up 4S, turn it over to blank side, & place it on spread of blanks. Pick up f-u A, 2, 3S, in spread - and insert them, as is, between 2nd & 3rd cds from bottom of blank spread, scooping up top 3 blanks. Use all these to scoop up remaining, tabled, 2 blanks. Cds are set for repeat! This reads complicated; it isn't. It's casually done during closing patter.
Direct attention to "4S" packet. Slide off 4S, leaving it on table, then spread remaining 3 cds to show 3 blanks. Pick up 3 blank cds, squaring them. Place 4S on top of blanks & immediately do double turnover to reveal its(?) back. Thumb off that top, back-up, cd into rh as lh spreads its 3 cds to show 3 blanks. R-h,
Afterthoughts: Being set to repeat is important it you're working tables professionally. Well, this took some explaining. As I said, you will have to go over the routine a few times; become familiar with it, make all actions fit your patter, and vice versa. It's all logical, and it all flows. It's good magic!
Ellipses (...) |obert Bengel's The Heat Is On (Apocalypse; June, 1985) is a fine addition to the growing number of matrix routines. What I neglected to mention when I wrote that item is that the "card-clip" steal of a coin between two cards that's used in the routine has already been in print. I know that Robert came up with it on his own, and I should have known that it comes from the "cheating" area. It's used to steal chips. I was aware of that...I simply didn't make the connection to magic. Bill Spooner used that particular steal in a marketed matrix version. Sidney H. Radner mentioned it (check copping) in his book How To Spot Card Cheats (1957). The idea of being two coins ahead (which Bob uses in The Heat Is On) was used by Ed Mario some time ago... published in - where else? - Apocalypse. None of this is meant to take anything away from Bob's routine... that's excellent. Just like to keep the record (and credits) straight whenever I can and/or whenever I'm advised.
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While on Che subject of credits... again, inadvertently, Eddie Taytelbaum's second variation in Two Elmsley-Count Variations (also in the June, 1985 issue of Apocalypse) is the same as Ed Mario's Opec Count. In that same issue, I mentioned in the Afterthoughts of Sol Stone's Sweet And Low that I liked the idea of pouring sugar into the hand that's hiding a coin. This prompted Jon Racherbaumer (who contributed the information in the above three paragraphs) to write: "Why not use that 'pouring sugar' idea this way. Pretend to place the coin into your left hand. Ask someone to open a sugar packet and to pour its contents into your left fist. Slowly open your hand, but more or less keep the sugar together in a mound. Say, 'Look! The coin is gone!' Most of the spectators will suspect that you are hiding the coin under the sugar. "Transfer the sugar to your right hand. Your audience sees that your left hand is indeed empty; however, because of your superb timing and chutzpah (Jon used a different word here), you now have the coin hidden beneath the sugar in your right hand! How you proceed from this stage is anybody's guess." *** Magic Christian (of Vienna, Austria) asks if I knew that the picture (graphic) on the cover of my book REPUTATION-MAKERS was done by the late graphic designer, Toni Stursa. Originally done for the FISM convention held in Vienna in 1958. No; I didn't know. Lou Tannen gave that to me; he never told me where it came from. Christian has an original print of it. (Incidentally, the reports I've received on this year's FISM [in Madrid, Spain] have not been glowing. The organization left a bit to be desired, I'm told.) *** John
Scarne
died
in July. Awfully
sorry...he was an old friend and a childhood idol of
mine. *** I belong to The Players, a club founded by Edwin Booth (the famous actor, brother of John Wilkes Booth). The Mulholland collection had been bequeathed to The Players. It gathered dust there for years. I never really was able to see it because most of it was stored away in corrugated cartons. I've talked about it in this space before...the late Milbourne Christopher tried to stop The Players from selling the collection...Dick Cavett asked if I'd chip in with him and buy it (I believe the asking price was half a million dollars)...and so on. It left The Players. For a while no one knew where it was. Now - I'll tell you. The collection is The Mulholland Library Of Conjuring & The Allied Arts...at 10100 Santa Monica Blvd. - 5th Floor, Los Angeles, Calif. 90067. Telephone number: (213) 277-3875. And - Ricky Jay is the curator. *** After the fact: Someone sent me the instructions for an item called Improved Super Billfoold (sic). It says - Presented By Ravel, A G & G Enterprises Production. It isn't dated; I'm sure the item is no longer on the market. But...it has to get the trophy for the rip-off of the year. The name Himber is never mentioned. It is, of course, the Himber wallet. The "improved" is - better leather. This might have been so (doubt i t ) , I never saw one. Also "improved" because no matter which way the wallet is opened, the side with (a certain compartment) is always on the left. Well, so far as I know, this was so with the original... it's so with the few different samples I have. Then, there are four routines taught. As I read, I thought - "Gee; these are pretty well written...they're so good they seem familiar!" Of course. They are word for word out of my book THE BEST OF BILLFOOLED - that I wrote for Dick back in the 1960's. The name Lorayne is obvious by its absence! They didn't even have the decency to change one word. Lovely. Incidentally... I've been told that collectors were paying $100.00 for original copies of the other book I wrote for Himber (also on the wallet) - THE HUNDRED DOLLAR BOOK (it sold for $10.00 originally, I believe, or Dick gave it away with the purchase of the wallet). There are no more around. I have one or two mint-condition extra copies. I wouldn't sell 'em for anything less than $200.00 each! (Might even throw in my autograph!) Then again, I may not sell 'em for any price. Howie Schwarzman has imported some Himber-type wallets from Japan. It's a different kind of wallet, although it basically serves the same purpose. It's also well made and very good. You may read some more about it here...soon. *** so
is
I w i s h you c o u l d s e e Bob M c A l l i s t e r p e r f o r m t h e c o v e r i t e m of t h i s i s s u e . I t ' s s t r o n g . And t h e c o v e r i t e m of n e x t m o n t h ' s i s s u e - D a v i d R e g a l ' s C l e a r l y I m p o s s i b l e . I t ' s a 4 - c o i n t h r o u g h - t h e - t a b l e - i n t o - g l a s s r o u t i n e . He f o o l s e v e r y m a g i c i a n w i t h i t .
is published every month by Harry Lorayne, All checks are to be made payable to Harry Lorayne,
at: 62 Jane St., New York, N. Y. 1001k. and mailed to him at that address.
Individual issues - $lt.00 each Overseas subscription - $hS.5O surface mail Subscription - $lf0.00 per year (U.S.A. dollars only) - $5b.5O air mail All back issues - $lt.00 each, plus pstg. $57.50 airmail to Australia, Japan, So. Africa, Canada & Mexico - $U5.50 surface mail.
etc.
Lofayne's $4.00
VOL. 8 NO. 12
DEC, 1985
pocalypse Š COPYRIGHT 1985 by H. Lorayne, Inc.
ISSUE NO. 96
David Regal
Clearly Impossible
possible, probably probable, that you will consider this routine to be worth more than the entire year's Apocalypse subscription price. Although the idea that a coin isn't seen when it's lying at the bottom of certain type/size glasses may have been used before, I don't think it's ever been used quite this way. I saw David bamboozle an entire group of magicians (including myself) with the routine. It's an almost basic 4-coin one-ata-time through-the-table routine; but the coins that have not penetrated are displayed in a clear glass. What really "takes in" the watchers is to clearly see four coins in the glass and then actually see a coin disappear as the glass is turned mouth down - only three coins spill out! The same when three coins are seen in the glass - only two dump out of the glass an instant later. The glass is clear, the magic is visual, there simply does not seem to be any room for guile. The whole thing is based on the fact that a coin can be concealed in a clear glass. Use an "on the rocks" glass; also called an "old fashioned" (after the drink) glass - not a
S1141!
shot glass. These are usually about 1\ inches high; circumference at the mouth is a bit less than ten inches. It should have a fairly thick base. David's glass concaves at the (outside) bottom (like a wine bottle) but that isn't necessary. The inside bottom of the glass should be as flat as possible; you don't want too much of a "concave" there. Also, it is not necessary to have a design on the glass; a clear, uncut, glass will suffice. You'll need five half dollars and the one gimmick a piece of clear, transparent, Scotch tape.
ward as your 2nd fingertip presses down on the gaffed coin! (Fig. 2.) This insures that the coin is firmly stuck to the inside bottom of the glass. It's an instant and casual thing; you are not even looking at the glass as you move it out of your way. Your attention is on the tabled coins. Your left hand picks those up one at a time, tosses each into your right hand which, in turn, drops each into the glass. All quite deliberately done.
The preparation is simple. Make a small loop of tape (no larger than a half dollar, of course), sticky surface on the outside. (Don't use double-sided tape; the loop gives you the "bulk" you want.) Press the loop onto the reverse (tail) side of one of the half dollars so that it pretty well flattens, and don't allow any tape to extend past any coin edges. You're seated at a table, working on a close-up pad. The extra (5th) half dollar is on your lap.
To Perform: Place the empty glass onto the table, mouth toward audience. You want all to see a normal glass. Don't verbalize that, let it speak for itself. Then, with your right hand, bring out the stacked (four) half dollars; the tape loop is on the underside of the lowermost coin. Holding the stack an inch or so above the pad, give the stack a light leftward toss onto the pad. The coins will form a pretty neat horizontal row. The coin to your right is the taped coin; it will stick lightly to your surface. (And no - no one will notice if it's raised a bit at an edge because of the tape.) Manage it so that the glass is just to the right and perhaps a bit forward of the gaffed coin. That's important. (See Fig. 1.) Pick up the glass with your right hand. Hold it naturally, mouth up. And with your left hand, pick up the prepared coin - and tap the glass with it. Table the glass with your right hand, and take the coin from your left fingers. Hold the coin parallel to the floor, between your right thumbtip and 2nd fingertip as it is brought over the glass; the tape loop is on its underside, of course. Dip into the glass and release the coin when your fingertips hover about an inch above the glass bottom. If you drop the coin from too high above the bottom of the glass, there's a chance that the coin might flip over; you want to avoid that. Your patter throughout is explanatory; when you're tapping the glass you can say that you'll try to cause the coins to penetrate the glass and the tabletop one at a time, and so on. Now; your left hand moves to pick up the right-end coin of the 3-coin row. But, because the glass is rather close to that coin, your right hand moves the glass to the right - like this: Your 1st, 2nd, and 3rd fingers go into the glass â&#x20AC;&#x201D; your thumb moves to the outside. Push the glass to the right and slightly for-
Pick up the glass with your right hand and move it toward your spectators â&#x20AC;&#x201D; under their noses, if you like. Let them see the four coins in the glass. Say, "Four coins in the glass." Table the glass in front of you. Casually show your hands to be empty. As your left hand goes beneath the table, picking up the lapped (from before you started) coin, your right hand flips over the glass. Do it like this: Your right hand picks up the glass near its bottom; your thumb rests right near bottom, your 2nd finger is opposite your thumb, on the outer side of the glass. Your forefinger is above your 2nd finger and your 3rd and 4th fingers are slightly spread and do not touch the glass. It's a natural grip. (Fig. 3.) Raise the glass about four inches above the tabletop and bend your forefinger only enough so that its tip contacts the right side of the glass. Push (to the left) with your forefinger. Allow the glass to pivot between your thumb and 2nd finger; it flips mouth down pivoting in a counterclockwise direction. (Fig. 4; the pivot is just starting.) This, too, is a natural action; it's also a fluid one. Three coins spill out. With a bit of a flourish, a "kick," the coins spread nicely onto the table as they come out of the glass. If they don't, spread them with the rim of the glass. This is very magical. One coin
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seems to dissolve in mid-air! Your thumb and 2nd finger are still in position on the glass; your forefinger rests on top (on the base). If you were to remove your right hand from the (tabled) glass now, it would be just about impossible for your spectators to see the coin stuck to its inside bottom (which is now the top)! The coin would be seen only if someone looked directly down at the glass. The base's thickness helps disguise the situation. An edge of the coin, however (though distorted), might just be "made out" by a spectator. By holding the glass as directed, casually keeping your right hand on it, any image of the coin is obscured as, at the same time, the glass is held as openly as can be. Your second finger covers from the front, your forefinger covers from above. (Fig. 5.) There's no reason or need to remove your hand from the glass at this point. Remember; your spectators can see through the glass; all seems perfectly innocent. Okay; only three coins are seen on the table. Your left hand comes into view with the "penetrated" coin. Table that coin to the left, as your right hand lifts the mouth-down glass. Your left hand picks up (stacks) the three nonpenetrated coins and appears" to toss them into the glass. (Fig. 6 is a stop-action view just as your left hand stacks the three coins.) Actually, only 2 coins go into'the glass to join the gaffed coin; your left hand retains one. When your left hand lifts the 3 stacked coins, your thumb pushes them flat against your fingertips. They'll automatically spread a bit. Toss to the right; your fingers relax letting 2 coins go - your thumb holds back the closestto-you coin. (Al Baker.) (See Fig. 7.) The glass is swlveled mouth to the left as the coins are gently tossed. Swivel the glass smoothly, like this: Bend your right 3rd finger so that its nail rests against the right side of the glass, at the base. Push to your left with your third finger as your wrist helps to swing the mouth to the left. It's a combination of these two movements - the third finger pushing and your wrist turning - that swivels the glass smoothly. Your third finger ends up beneath the glass, helping to support it. The two coins (apparently 3) are tossed into the glass as the mouth swivels up and to the left. (Look at Figure 7 again.) As soon as the coins are tossed - they coalesce with the gaffed coin complete the swivel, pivoting the glass mouth up - upright.
6
left hand drops to the table's edge and laps its stolen coin. Bring the glass back to position as your left hand picks up the visible, already-penetrated, coin and goes under the table with it. Retrieve the lapped coin as your hand moves. Do your buildup -- then turn over the glass as already described, dumping out two coins. One coin seems to dissolve in mid-air. (You really have to try this, or see it, to realize how good it looks. And, as I write and think about it, I realize that the concept is similar to the Chop Cup - without a magnet!)
Rest the mouth-down glass on the table as your left hand comes into view with two coins all just as before. (If you like, you can do a "clinking" piece under the table as the one coin "penetrates," since you have two coins in your left hand.) Table the two penetrated coins to your left with your left hand - then your left hand picks up the two just-dumped coins. Apparently toss the two into the glass, really retaining one in your left hand, as before. Display two coins in the glass, as your left hand laps the stolen coin. The sequence here is exactly as before, except that you're working with different numbers of coins. Say, "Two coins left." Your left hand picks up the two penetrated coins and goes under the table with them; pick up the lapped coin on the way. Do the penetration of the third coin - all as before. You've just shown two coins in the glass; now dump out one, rest the mouth-down glass on the table, as your left hand comes up with three penetrated coins. Table these three in an overlapping row. As you do, move the glass toward you with your right hand; move it past the table's edge. Your left hand grasps the mouth-down glass at its mouth - between thumb and 2nd finger. Release with your right hand and the glass will swivel mouth up due to its own weight. This is done openly - although you don't specifically call attention to it. As it swivels to upright position lower the glass to beneath tabletop level. With your right hand, pick up the one non-penetrated coin (the coin just dumped out of the glass) and table it in front of you. Say that the last coin will go through the table "the hard way." (The coin is tabled so that it's a hand length away from the table's edge.) Do Ed Mario's Rub Back coin vanish. First, bend your left arm at the elbow (under the table) to bring the glass directly in front of you (still under tabletop level, of course) so that it's in position to "catch" the coin. The Rub Back, briefly: Your palm-down right hand moves onto the tabled coin. Place your fingertips just in front of (north of) the coin and pretend to push the coin forward. What you actually do is to just straighten your fingers as
Move the right hand forward with the glass. "Three coins." Let your spectators see the 3 coins! As your right hand moves forward, your
11431
if sliding the coin forward; the coin doesn't move, and the rear part (the heel) of your palm lightly rests on it. Move your hand in short circular counter-clockwise movements, and the coin starts to move rearward. If you already know this, you know that there's only a bit of a knack involved and that it's good. If you do not know it, try it - it'll work for you after only a few attempts.
coin and places i t with the other three ( a l ready-tabled) penetrated coins — scooping up a l l four coins at about the same time. Toss the four coins into the glass. Toss as you've been doing a l l along; the only difference is that you're tossing with your right hand into the glass t h a t ' s held in your left hand — and no coin is held back. Table the mouth-up glass. There are five coins in i t , but that can't be seen. Put away the g l a s s . And - you've "fooled the pants off" your spectators! Afterthoughts: Not too much more that I can t e l l you about t h i s - you've "got" i t a l l now. You'll automatically experiment with the kind of tape to use - and how long that tape will hold the coin securely against the inside bottom of the g l a s s . You don't want the tape "loosening" prematurely, of course. That, perhaps will "set" the speed at which you perform the routine!
8 Let the coin move rearward until i t f a l l s into the glass! (Fig. 8 is an exposed view just before i t f a l l s . ) You can see the glass as you look at your right hand, so there's no way you can miss. The sound of the coin "penetrating" the table and falling into the glass is heard. The illusion of that last coin magically penetrating the tabletop into the glass — is perfect (when done properly).
The l a s t time I performed i t , I did not toss the four v i s i b l e coins into the glass at the end. I pushed the four coins forward with my right hand as I casually lowered the glass to my lap with my left hand. As I finished my right-hand forward push, my left hand l e t the glass swivel mouth down as my forefinger reached in to nudge the coin - dislodging i t . I l e f t that on my lap as I brought the glass up and pushed i t forward with the four coins. Clean!
Your left hand brings the glass into view and dumps out i t s one coin - the one that just penetrated. The "dump" is done (with your left hand) just as described for the right hand. The right hand picks up the dumped, "penetrated,"
You won't know how good (and magical) the idea and routine are - u n t i l you read i t , try i t , l e a r n i t - and perform i t !
The next issue mailed to subscribers will be the blockbuster January, 1986 - anniversary - issue. I t is scheduled to be mailed at the end of November. If your $40.00 subscription renewal (foreign: $46.50 surface mail; $54.50 airmail; $57.50 airmail to Japan, Australia, So. Africa, e t c ; $45.50 Canada & Mexico) is not received by me within a very short time - that issue will NOT be mailed to you. Don't miss out. If you haven't already sent irT your subscription renewal, or new subscription, stop procrastinating - DO IT HOW!
Tonny Van Rhee
Tacket Talm
When Tonny (it's pronounced "Tony," and he lives in Belgium) does this there is absolutely nothing to be seen. It is a beautiful palm-off of one card from a small packet. And it has always been a problem to palm a card from a small packet. It shouldn't be any longer. Tonny has many uses for it, in many effects and routines. I'll teach only the palm first, then I'll mention one way in which he uses it in combination with another of his moves.
As your hands approach each other, your left fingertips - all at the packet's right side - buckle the face card downward, creating a space (quarter inch or so) between that card and the rest of the packet. At this moment, the face of the packet should be facing to the right. Your right hand is approaching - its palm toward the face of the packet. (Fig. 1.) This may seem complicated at first reading, but it's a simple and natural action.
Assume that you're holding a five-card, face-down, packet in your left hand; dealing position. You want to palm off the bottom card. What the following looks like to your audience is that the packet is turned face up, and your right hand deals the face-up cards singly onto the table. Done properly, that's all it looks like. .
There's no pause at all in performance, of course. The "web" of your right thumb fork goes between the packet and the separated card as your fingertips grasp the packet's outer end. (See Fig. 2.) Don't try to get the web of your thumb fork between - you don't want fidgeting getting it at will suffice; that will maintain the separation.
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Let go with your left hand; only your right hand is holding the packet momentarily. The separated card is still separated - its outer right corner area resting against your right second and/or first fingers. (See Fig. 3, which is an exposed view.)
When Tonny originally performed this for me, it was used in a quick routine. He showed me the top card of five cards, placed that card face down onto the table, then dealt the four remaining cards face up beneath it. He snapped his fingers and turned up the face-down card it was not the card I'd originally seen; that was gone. Here's how: Remove a block of six cards from the deck, and place the deck aside. Casually spread-count the six face-down cards as five; simply hold the last two as one card. Either square and double lift the top two cards or flip the two cards you're holding as one face up onto the top of the packet. Call attention to the exposed face-up card; mention its name. Now, here's one of Tonny's moves with which he does miracles. I'll call it the "CurlBack." Grasp the face-up double card at its right side with your right hand - first and second fingertips on top, thumbtip underneath. Turn the double face down by turning your right hand outward and palm up. At this moment, all four of your left fingers should be straight and 90-degrees to the packet. (Fig. 7 shows the position of both hands, and the cards.)
9
6 Again, there's no pause. Your left fingers move into the separation - the backs (fingernails) pushing the separated card directly into right-hand palm; it's just about automatic. (See Fig. 4.) Your right hand is turning palm down at this point, turning the packet face up. (See Fig. 5.) Your left thumb immediately pushes off the face card, which is taken by your right hand from above and at the card's ends (Fig. 6) to be dropped onto the table. That's it; the face card has been imperceptibly palmed. Sure; it will take some practice - a few tries - but not as much as you'd think. It's a beauty!
What follows is instantaneous, and looks only as if you're placing the right-hand card face down onto the table. Move the double card fractionally beneath the packet - it moves between the face of the packet and your left forefinger. (Fig. 8.) The instant the double card moves to position (at the same time, reall y ) , your left forefinger rapidly "curls back" all the way, taking along the face card of the double - the card you showed and named. The forefinger really almost snaps back. (Fig. 9 is an exposed view of the outer end of the packet. It's what your spectators would see if you held the packet up to eye level.) Note that the left forefinger is curled all the way back. It will take a bit of practice to "flush" that card instantly and cleanly. NOTHING can be seen when Tonny does it. Of course, as your left forefinger does the "curl back," your right hand is placing its single face-down card to the table - this is apparently the card you just showed and named. As soon as you've tabled that card - naming it(?) again - go right i-nto Packet Palm. You're in perfect position. In appearance, you simply
â&#x20AC;˘1145.
turn the packet face up. Immediately deal the four face-up cards singly onto the table, beneath or around the face-down card.
of cards, even - with only a bit more practice - while holding the entire deck. It's just that it's much more useful as a palm-off from a packet. Palming off from the entire deck is no problem. It, however, works just fine that way, too.
Snap your left fingers, then turn up the face-down card to show that the card displayed and named a moment ago - is gone! You can "ditch" (pocket or lap) the palmed card as your left hand turns up the tabled card - or, secretly replace the palmed card as you slide the visible five cards off the table and deposit them back onto the deck.
When you're practicing the palm-off, you might try buckling with just your left forefinger, instead of all four fingers. It works that way for me - I use both methods. And, when you do the "curl back," your left forefinger straightens as your right hand is tabling its card.
Afterthoughts: To make the above quick routine! I "complete" vanish of a card, you may want to start with five cards (or any small number). Show them as five; no false count. Double turnover, "curl back" move, into the palm-off, etc. Only three face-up cards are seen. Turn up the face-down card - the displayed card has completely vanished. I've taught you only the moves here; fill in your own patter and presentation for the quick routine.
And - with a little more practice, the palm can be done without the help of your left hand. When your right hand grasps the packet, as explained, keeping the lowermost card separated, remove your left hand. Your right hand simply deposits the squared, turned, packet onto the table. You'll see, when you try this, that it doesn't take much maneuvering at all to fully palm the card. Contracting your fingers does it for you.
The top card of a packet can be palmed off if the packet is held face up at the start. The top card is palmed as the packet is turned face down. The
palm-off
can be done
John Quine
I, personally, prefer to use the palm just as described in the text. It's perfect that way - and just about covered from all angles. And don't overlook the "curl back" move!
from any number
Two "Cut Deeper" Forces
|he force credited to Henry Christ (and also to Ed Balducci) - the "cut deeper" force is a standard by now and, as is pointed out in BEST OF FRIENDS, VOLUME II, searching for ways to disguise it is fun. (These two were received too late for inclusion in the book.) It's not a force I've neglected in my writings; I used it in my first book on magic (CLOSE-UP CARD MAGIC) and in my last (the above-mentioned). John's methods are foolers. This first one is impromptu and, in effect, the deck is "cut deeper" three times - and a card is forced.
third (or quarter) of the deck and faro it into the center of the larger remaining portion. The faro need not be perfect, or anywhere near perfect - anyone can do this. (See Fig. 1.) Don't flush the cards yet. Grasp them from above with your right hand and "cascade" them onto your left hand in the standard way. (See Fig. 2.) It's a simple matter to obtain a left little fingertip break beneath the top block of (non-interlaced) cards. This break is, automatically, directly above the original top card. Maintain the break as you square, and as you explain to your spectator that you want him to cut "like this." Demonstrate by cutting to the break and flipping that small batch face up onto the deck. Say that you'll let him do that a couple of times, but he's to "cut deeper" each time. "And then, we'll use the first facedown card you happen to cut to that position." As you say this last, spread the face-up cards to illustrate. Square. Other magicians will think you're "sighting" something now. You're not. (But you can if you want to; see my Afterthoughts. ) Let your spectator cut as you've demonstrated (the batch you cut is still face up on top when he starts) - twice, as in the original Christ Force. Spread the face-up cards to the first face-down card, which he takes. It's the force card, of course.
The card you want to force is on top - you have either secretly brought it there and are shuffling, keeping it there, or you've glimpsed the bottom card and shuffled it to the top. Okay; as part of the shuffling, cut off the top
Second Method: This is not impromptu - you need a matching double-backed card. But, it's just about a "perfect" force. Your spectator cuts only once, you spread to the first facedown card - it's the force card!
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(Apocalypse ^ndex for Volume Q The Effects: BAR STIRRER
No Visible Means Of Support (Doc Valles) BILLS Bill Matrix (Robert Bengel) Enlarged Invisible Hole (Mike Bornstein) Fastest Trick In The Universe, The (Bob McAllister) How Sweet It Is! (David Ben) Invisible Hole, The (Yoshio Hirose) Quick Warp (Jay Marshall) "Watch" The Bill/Cup (Gerald Deutsch) BUSINESS CARDS Business Card Production (Michael Rubinstein) CARDS All's Fair (Mike Maxwell) Ambitious Blacks (Roxy)Boggle Switch (J. K. Hartman) Cased-Deck Penetration (Mike Bornstein) Dealing-Position Spinout (Tom Mullica) Deck Patrol (Richard Goldshot) Double Chameleon (Richard Vollmer) Double-Cut Substitute (Walter Cummings) Double "Pancake" Revelation (J. Gordon O'Genski) Enlarged Hartman (Charles M. Hudson) Fastest Trick In The Universe, The (Bob McAllister) Flash Surprise (Willie Schneider) Flip Out ( Steve Rogers) Heat Is On, The (Robert Bengel) Holey Deck , The ( Randy Tanner ) Illogical Shuffle (Gianni Mattiolo) Instant Card(s) Vanish, An (Seth Kramer) Instant Sedaps (Richard Vollmer) I Predict (Jim Molinari ) Ladykiller (Ron Ferris).' Lady Vanishes, The (Richard Vollmer) Litmus Aces (Justin Higham) Matrix Intro (Paul L. Smith) Miniature Mindreading Miracle (Mike Bornstein) More Monte (Bob Kubota) No-Lap Kick Switch (Bernard Bilis) Not Marked! (Walt Maddison) Oil And Kings (Stephen Tucker) Oil And Water Supreme (John McClure) Open Travelers & Co. (Hippie Torrales) Packet Palm (Tonny van Rhee) Perfect Penetration (David Regal) Perils Of Jack, The (Hippie Torrales) Point In Case (Robert Bengel) Psy-Cross Force (Gianni Mattiolo) Quick Warp (Jay Marshall) Royal Error (Marvin Steiner) "Slop Shuffle" Roll Over (Ray Mertz) Slow Motion Oil And Water (Jim Swain) Smart Scissors (Dick Koornwinder) So Simple - So Good (Ian Baxter). Supreme Oil And Water (Mike Bornstein) Surfer Sandwich (Jon Racherbaumer) Take Leave (Jack Carpenter) Thanks To JH (J. C. Doty) T. N. Two (Phil Goldstein) Top Down Table Cut ( Larry Taylor ) Transequential (Dick Christian) Triple Sec (Jeff Altman)
No.10, page 1122 No.10, page No.11, page No.11, page No.4, page No.3, page No. 6, page No.5, page
1117 1136 1129 1050 1038 1069 1064
No.8, page 1093
No . 9 , page 1109 N o . 5 , page 1066 N o . l , page 1014 N o . 3 , page 1040 N o . 3 , page 1036 N o . 1 2 , page 1148 N o . 3 , page 1042 N o . 2 , page 1027 N o . 2 , page 1028 No.4, page 1049 No.11, page 1129 No.2, page 1024 No. 4, page 1054 No. 6, page 1074 No . 6 , page 1080 N o . 1 1 , page 1135 No. 7, page 1090 N o . 1 0 , page 1126 No. 5 , page 1065 No. 2, page 1030 N o . 2 , page 1025 N o . 9 , page 1114 N o . 7 , page 1081 N o . 5 , page 1060 N o . 1 0 , page 1119 N o . 6 , page 1071 No.4, page 1047 No.l, page 1015 No.7, page 1083 No.6, page 1077 No.12, page 1144 No.2, page 1021 No.2, page 1031 No.3, page 1036 No.2, page 1026 No. 6, page 1069 No.10, page 1127 No.9, page 1108 No. 7, page 1088 No.11, page 1132 No.4, page 1052 No.7, page 1085 No.10, page 1121 No.9, page 1111 No.8, page 1101 No.l, page 1018 No . 5 , page 1061 N o . 1 1 , page 1137 No. 5, page 106 3
"T "Trite" But All Right (Ed Mario) "Twinkling" Change (Jeff McBride) Two "Cut Deeper" Forces (John Quine) Two Elmsley-Count Variations (Eddie Taytelbaum) Untilt (Father Cyprian) Whole Lot Of Money, A (Ken Klosterman) "Wild!" (Keith Breen) Wilder Cards (Shigeo Takagi ) CHAIN LINKS Missing Link, The (John M. Bauman) COINS Another Tenkai (Joe Safuto) Any Coin Go (Mitchell Silverman) Bill Matrix (Robert Bengel) "Cheap Way" Cop/Sil/Brass (Tony Miller) Clearly Impossible (David Regal) Closing Okito (David Regal) Double-Take Coins (Howard Cohen) Empty Handed ( Mark Lef ler ) Enlarged Invisible Hole (Mike Bornstein) Flip-Side Split (Sol Stone) Heat Is On, The (Robert Bengel) Masquerade (Ben Harris) Matrix Intro (Paul L. Smith) Okito-Box Turnover, An (Jeff Moche) Opening Okito (David Regal) Pursonality ( Shigeo Takagi ) SCAT (Greg Eanes ) Sweet And Low ( Sol Stone ) Two-Timing Transpo ( Sol Stone ) Whole Lot Of Money, A (Ken Klosterman)
No.l, No.3 No. 12 No.6 No.8 No.12 No . 8 No.8
page page page page page page page page
1011 1039 1146 1073 1100 1149 1103 1096
No.9, page 1110 No. 10, page No •9, page No. 10, page No •1, page No. 12, page No •7, page No. 12, page No.8, page No. 11, page No •1, page No .6, page No •4, page No •7, page No •5, page No • 7, page No• 3, page No •5, page No.6, page No•9, page No. 12, page
1125 1113 1117 1016 1141 1089 1147 1101 1136 1013 1074 1055 1081 1062 1087 1033 1057 1072 1105 1149
CUP "Watch" The Bill/Cup (Gerald Deutsch) FORK Past Bending (Doug Edwards) GLASS Clearly Impossible (David Regal)
No.5, page 1064
No.4, page 1053
No.12, page 1141
KEY Key Bender (Bob King)
No. 11, page 1133
KNOTS Silknot (Karrell Fox) Steal Ring (Fred C. Baumann)
No.l, page 1009 No.6, page 1076
OKITO BOX Closing Okito (David Regal) Okito-Box Turnover, An (Jeff Moche) Opening Okito (David Regal)
No. 7, page 1089 No. 5, page 1062 No. 7, page 1087
PURSE Pursonality (Shigeo Takagi)
No.3, page 1033
RING (Finger) Steal Ring (Fred C. Baumann)
No. 6, page 1076
RINGS (Linking) Linking Ring Spin Flourish (Tony Lopilato)
No.4, page 1045
ROPE Steal Ring (Fred C. Baumann)
No. 6 , page 1076
SCISSORS Smart Scissors (Dick Koornwinder)
No.11, page 1132
SILK Silknot (Karrell Fox) SUGAR PACKET How Sweet It Is! (David Ben) Sweet And Low (Sol Stone)
No.4, page 1050 -6> PaSe 1 O 7 2
No
THUMBTIP Double The Tip (Bob Friedhoffer)
No.8, page 1098
WRISTWATCH "Watch" The Bill/Cup (Gerald Deutsch) APOCALYPSE VARIATIONS OR ADDITIONS
No. 5, page 1064 Nos.3,6,8,9; pages 1043,1075,1095,1114
OUT TO LUNCH (Harry Lorayne)
o D D D D D • D D D • D D D D D D • D D D D a D D D D D D a a a D D D D a a D D D D a D • D D a a a a D D D D
The Contributors: Altman, Jeff
Pg.1063
Bauman, John M Pg.1110 Baumann, Fred C Pg.1076 Baxter, Ian Pg.1052 Ben, David Pg.1050 Bengel, Robert.... 1036,1074, 1117 Bilis, Bernard Pg.1071 Bornstein, Mike ... 1040,1060, 1085,1136 Breen, Keith Pg.1103 Carpenter, Jack Cavett, Dick Christian, Dick Christian, Magic Cohen, Howard Cummings, Walter Cyprian, Father Czerbinski, Jeff
Pg.llll Pg.1020 Pg.1137 Pg.1075 Pg.1147 Pg.1027 Pg.1100 Pg.1123
Deutsch, Gerald Doty, J. C
Pg.1064 Pg.1101
Eanes, Greg Edwards, Doug
Pg.1057 Pg.1053
Ferris, Ron Pg.1030,1151 Fox , Karrell Pg . 1009 Friedhoffer, Bob Pg.1098
Nos.4,10; pages 1056,1128
Goldshot, Richard Pg.1148 Goldstein, Phil Pg.1018 Greenfader, Lenny ....Pg.1095 Harris, Ben Pg.1055 Hartman, J. K. ...1014,1043, 1092 Higham, Justin Pg.1114 Hirose, Yoshio Pg.1038 Hudson, Charles M. ..Pg.1049 King, Bob Klosterman, Ken Koornwinder, Dick Kougasian, Peter Kramer, Seth Kugota, Bob
Pg.1133 Pg.1149 Pg.1132 Pg.1089 Pg.1090 Pg.1119
Lefler, Mark Lopilato, Tony
Pg.1101 Pg.1045
Plants, Gary
Pg.1114
Quine , John
Pg . 1146
Racherbaumer, Jon....Pg.1121 Regal, David 1021,1087, 1089,1141 Rogers, Steve Pg.1054 Roxy Pg.1066 Rubinstein, Michael..Pg.1093 Safuto, Joe Pg.1125 Schneider, Willie Pg.1024 Silverman, Mitchell..Pg.1113 Smith, Paul L Pg.1081 Steiner, Marvin Pg.1127 Stone, Sol....1013,1072,1105 Swain, Jim Pg.1088 Takagi, Shigeo 1033,1096 Tanner, Randy Pg . 1080 Taylor, Larry Pg.1061 Taytelbaum, Eddy Pg.1073 Torrales, Hippie ... 1031,1077 Tucker, Stephen Pg.1015 Tuckerman, Richard...Pg.1123
Maddison, Walt Pg.1047 Mario, Edward Pg.1011 Marshall, Jay Pg.1069 Mattiolo, Gianni...1026,1135 Maxwell, Mike Pg.1109 McAllister, Bob Pg.1129 McBride, Jeff Pg.1039 McClure, John Pg.1083 Mertz, Ray Pg.1061,1108 Miller, Tony Pg.1016 Moche, Jeff Pg.1062 Molinari, Jim Pg.1065 Mullica, Tom Pg.1036
Valles, Doc van Rhee, Tonny Vollmer, Richard
Artwork
Pg.1122 Pg.1144 1025, 1042,1126
ROBERT E. LORAYNE
O'Genski, J. Gordon..Pg.1028 Onosaka, Ton Pg.1096
The Sleights Described WITHIN Routines:
Card Hop, A (Lorayne)...Pg.1103 Card Pivot Pg.1149 Card Reversal Pg.1052 Covered Deck Switch Pg.1103 Cover-Up Cut (Mario)....Pg.1063 Flushtration Count Pg.1114 Jordan Count Pg.1016 Olram Subtlety (Mario) 1086
Pressure Hideout (Krenzel) . 1089 Quick 3-Way (Mario) Pg.1120 Rub Back Vanish (Mario).... 1143 Secret Add-On (Braue)...Pg.1127 Spellbound Change (Stone)..1106 Top Card Glimpse Pg.1103 Turnover Change (Curry)....1123 Two-Card Fan Switch Pg.1083
a a a a D • D D D D D D D D D O a o D D D D a D • D D a D D D a a • D D o D D D D D D D D D a a D a D D a D
The Issues: No.7; July, 1985 (pages 1081 to 1092): No.l; January, 1985 (pages 1009 to 1020; Silknot Karrell Fox Edward Mario "Trite" But All Right Sol Stone Flip-Side Split J. K. Hartman Boggle Switch Stephen Tucker Oil And Kings Tony Miller "Cheap Way" Cop/Sil/Brass Phil Goldstein T.N.Two Ellipses*...) No.2; February, 1985 (pages 1021 to 1032): Special All-Card Issue David Regal Perfect Penetration Willie Schneider Flash Surprise Richard Vollmer The Lady Vanishes Gianni Mattiolo Psy-Cross Force Walter Cummings Double-Cut Substitute J. Gordon O'Genski Double "Pancake" Revelation Ron Ferris Ladykiller Hippie Torrales The Perils Of Jack Ellipses (...) No.3; March, 1985 (pages 1033 to 1044): Shigeo Takagi Pursonality Tom Mullica Dealing-Position Spinout Robert Bengel Point In Case Yoshio Hirose The Invisible Hole Jeff McBride "Twinkling" Change Mike Bornstein Cased-Deck Penetration Richard Vollmer Double Chameleon Apocalypse Variations Or Additions Ellipses (...) No.4; April, 1985 (pages 1045 to 1056): Tony Lopilato Linking Ring Spin Flourish Walt Maddison Not Marked! Charles M. Hudson Enlarged Hartman David Ben How Sweet It Is! Ian Baxter So Simple - So Good Doug Edwards Past Bending Steve Rogers Flip Out Ben Harris Masquerade Out To Lunch
No.5; May, 1985 (pages 1057 to 1068): SCAT Greg Eanes Miniature Mlndreading Miracle Mike Bornstein Top Down Table Cut Larry Taylor An Okito-Box Turnover Jeff Moche Triple Sec Jeff Altman "Watch" The Bill/Cup Gerald Deutsch I Predict Jim Molinari Roxy Ambitious Blacks Ellipses (...) No.6; June, 1985 (pages 1069 to 1080): Jay Marshall Quick Warp Bernard Bilis No-Lap Kick Switch Sol Stone Sweet And Low Eddy Taytelbaum 2 Elmsley-Count Variations Robert Bengel The Heat Is On Apocalypse Variations Or Additions Fred C. Baumann Steal Ring Hippie Torrales Open Travelers & Co. Ellipses (...)
Paul L. Smith Matrix Intro Oil And Water Supreme John McClure Mike Bornstein Supreme Oil And Water Opening Okito David Regal Slow Motion Oil And Water Jim Swain Closing Okito David Regal An Instant Card(s) Vanish Seth Kramer Ellipses( No.8; August, 1985 (pages 1093 to 1104): Michael Rubinstein Business Card Production Apocalypse Variations Or Additions Shigeo Takagi Wilder Cards Bob Friedhoffer Double The Tip Father Cyprian Untilt Mark Lefler Empty Handed J. C. Doty Thanks To JH Keith Breen "Wild!" Ellipses(...)
No.9; September, 1985 (pages 1105 to 1116) Sol Stone Two-Timing Transpo Ray Mertz "Slop Shuffle" Roll Over Mike Maxwell All's Fair John M. Bauman The Missing Link Jack Carpenter Take Leave Mitchell Silverman Any Coin Go Apocalypse Variations Or Additions Justin Higham Litmus Aces Ellipsest...) No.10; October, 1985 (pages 1117 to 1128): Robert Bengel Bill Matrix Bob Kubota More Monte Jon Racherbaumer Surfer Sandwich Doc Valles No Visible Means Of Support Jeff Czerbinski Match Made In Heaven Joe Safuto Another Tenkai Richard Vollmer Instant Sedaps Marvin Steiner Royal Error Out To Lunch No.11; November, 1985 (pages 1129 to 1140): Bob McAllister Fastest Trick In The Universe Dick Koornwinder Smart Scissors Bob King Key Bender Gianni Mattiolo Illogical Shuffle Mike Bornstein Enlarged Invisible Hole Dick Christian Transequential Ellipses (...) â&#x20AC;˘ No.12; December, 1985 (pages 1141 to 1152): David Regal Clearly Impossible! Tonny van Rhee Packet Palm John Quine Two "Cut Deeper" Forces Howard Cohen Double-Take Coins Richard Goldshot Deck Patrol Ken Klosterman A Whole Lot Of Money Ron Ferris "X To See" Ellipses*...) Special Index Insert - Volume 8, 1985
The force card is on top of the deck. The double-backer is second from top (directly beneath the force card). There are too many ways to easily get to that position for me to list here. Do it as you like.
first face-down card. The last face-up card will be the one you dropped on top(?) before and that's where it should be. Let your spectator take the first face-down card; it's the force card, of course. Do your miracle!
Explain that you'd like to have a card selected in a moment, but not in the usual manner "where the deck is spread like this..." Demonstrate - spread and toss any card from center onto the table - as you talk. Leave that card on the table as you close the spread and square the cards but, as you do, get a left little fingertip break beneath the top two cards.
Afterthoughts: Both methods are simply excellent"! Just one thought: In the first method, when you spread the face-up cards in order to demonstrate what you'll do later - do spot the last face-up card. Then, after he's cut deeper twice, turn your back. Let him spread to the first face-down card. Tell him to look at it, leave it where it is, and then turn all the face-up cards face down onto it.
Pick up the tabled card and turn it face up as you name it and drop it face up onto the deck. (Really call attention to this card; it sort of "proves" all later. ) Turn it face down on top, really doing a triple turnover! (No problem; all this is off-beat - nothing has happened yet, so far as your spectators are concerned.)
Then, ask him to give the deck to another spectator for shuffling. As an "afterthought," say to that second spectator - "Oh, would you look at and remember the top card, please. Have you done that? Good. Now shuffle thoroughly." He will have remembered the card you spotted during your demonstration spread - you have forced two cards!
Now, invite your spectator to cut anywhere he likes and to turn that portion face up onto the remaining cards. Stress the free choice aspect, the fairness, here; he could have cut shallower, deeper, etc. Spread
through
the
face-up
Howard Cohen
You don't have to use the faro idea for that first method, of course. You can simply cut a small batch to the top, catching a break beneath it. But, don't louse up a good thing the faro route is so much better!
cards to the
Double-Take Coins
loward tells me that the original 4-coin production from which this is derived was devised by Glenn Farrington and Larry Davidson. Howard needed to add two coins to the production sequence because he needed six coins for his next routine. He asked for, and received, permission to contribute his 6-coin version to Apocalypse. Performed in a natural, rhythmic, manner it's an amazing-looking visual production of the coins from both hands. It should definitely elicit a "double take" from your spectators.
just do a "pretend" toss of the coin into your left hand. It's kept on your right fingertips; your left hand pretends to "take" or "catch" it. Obviously, you shouldn't flash palmed coins in either hand. Blow on your left hand; say that this will cause the coin to disappear from your left hand and re-appear in your right. Simply let the coin drop onto the table from your right fingertips, as you open your palm-down (or palm-toward-you) left hand. Pick up the coin with your right fingers again, and really toss it into your left hand - to finger-palm area; you don't want it to clink against the Classic-Palmed coin. This can, I suppose, be considered a "reverse feint" because it's supposed to be exactly what you did before.
It appears as if the coins are magically pulled from each other as your hands "work" in a criss-crossing manner. It can be done while seated or standing (Howard finds it easier to do while standing) on a surface with a bit of "give" - a close-up pad. You'll need six like coins - coins you can Classic Palm easily and well; Howard uses six half dollars. This will also serve as good practice for "working" with both hands, since you have to Classic Palm with both hands. You must have four coins Classic Palmed in your right hand (which will have to be released one at a time), and one coin Classic Palmed in your left hand. You can get to this position beforehand, or as your hands reach into your pockets "looking" for one coin. I have to leave this, and the patter, to you. You might start by saying something like - "This is a one-coin routine...using six coins!" To Perform: Openly place the one coin to center of your performing area. The first thing that must be done is a fake transfer of this coin from right to left hand. Pick up the coin with your right fingers and, the simplest way,
Blow on your left hand as before to "vanish" the coin and, this time, let one of the right-hand Classic-Palmed coins drop onto the table. The idea is to make the entire sequence look just as it did before - its purpose is to secretly load another coin into your left hand while doing a quick effect. There are now three coins in right-hand Classic Palm, one in lefthand Classic Palm, one in left-hand finger palm and one visible coin on the table. What follows is the "splitting" of the one coin (then progressively, coins) into six coins as you criss-cross, straighten, criss-cross, etc., your hands. Although, obviously, it will take longer to explain - in performance, it's a matter of seconds. Howard does it all during one line of patter. The coin has just been dropped onto the table from right-hand Classic Palm. He says, "This is not too spectacular with just the one coin - so I'll do it with six." It's
â&#x20AC;˘1147-
during this patter line, that the "criss-cross" production is done. (Either this, or the patter line suggested earlier, should suffice.)
is on a line with the coin your right hand moved. Your left hand drops its one Classic-Palmed coin at lower left as it starts to slide the visible coin. (See Fig. 2.)
First, a square of four coins is formed on the lower half of your performing area. Rest your right thumbtip and first and second fingertips on the visible (tabled) coin - which should be lying at lower-left position. Do not lift the coir,; slide it diagonally right and up, but - as you start the slide, let one of the right-hand Classic-Palmed coins drop. The idea is to try to drop it at the position originally occupied by the coin you're openly sliding up/right. (See Fig. 1.)
As your left hand, and its visible coin, reach position your right hand crosses to the coin your left hand just dropped (lower left) and slides it straight to the right, dropping another of its Classic-Palmed coins at lower left. (Fig. 3.) The square of (four) coins has just been formed on the lower half of your work area. At this instant, there's a coin finger palmed in your left hand and one coin is still Classic Palmed in your right hand. There's no pause in action, of course. To end, your left hand grasps the upper-right coin and slides it diagonally up/left, to above the two left coins, to form a perpendicular row. The left-hand finger-palmed coin is dropped in its place as the "slide" starts. The final movement, which starts before the preceding action ends: Your right hand goes to and grasps the center coin (of the up/down, perpendicular, row) at the left and slides it to the upper-right corner to form a perpendicular 3-coin row at the right. As this final movement starts, your right hand drops its one remaining Classic-Palmed coin. (See Fig. 4.)
2
The rhythm here is difficult to explain, but should be obvious to you. Basically, there are no pauses - one action "overlaps" the other. As your right hand comes to the end of its movement (slide), your left hand grasps the coin at lower left - the one just dropped - in the same manner. Slide that coin straight up so that it
Richard Goldshot
Afterthoughts: Don't forget to do the entire production in the rhythmic (fairly rapid, even-paced, no unnecessary pauses or hesitations) manner I mentioned. You'll have to practice dropping coins so that the "drops" look alike and, of course, practice dropping one coin at a time from a "multiple" Classic Palm. To repeat, your hands do not lift the visible moving coins; they slide the coins from one position to the other. For maximum visual effect, it's important that each coin is dropped to the same spot as the coin that's being moved at that moment. Work on it; it's good.
Deck Patrol
you're not familiar with Richard's RG Location and No Looking Goody Goody (both in Apocalypse; Sept., 1984 issue), I'd suggest you look them up before you get into this. The basic ideas are the same.
"You've heard of 'neighborhood patrols,' haven't you? Well, I use a 'deck patrol.' When a card is thought of - as you just thought of a card - my deck patrol goes to work." Hand to hand spread the cards to display the two redbacked cards. "Here's my 'patrol.' These red cards watch every move you make; they'll find your card!"
What you need here are 2 red-backed cards (asssume the 4D and 2S) that match a full (52card) blue-backed deck. Set up as follows: The red-backed 4D is 27th from top; the deck's 4D (blue-backed) is 29th from top. At bottom of the deck is the red-backed 2S; the blue-backed 2S is directly above it - second from bottom.
As you talk, take all cards above the upper red-backed card and place that large batch onto the table. (The upper red-backed card remains on top of the in-hand cards.) Spread to the lower red-backed card and place all the cards above it onto the already-tabled cards. There's now a red-backed card on top of the tabled portion and the in-hand portion.
To Perform: Hand the deck to your spectator. Instruct him to cut about the top threequarters of the deck to the table; he holds onto the lower quarter. Tell him to look at and remember the top card of those he's holding then to replace it on top. Now he's to bury his in-hand portion to about center of the tabled (larger) portion. I.e., he lifts the top half of the tabled portion, drops his quarter deck onto the still-tabled cards, then replaces the cut-off portion onto all. Talk about his free choice, and the "losing" of the card.
With your right hand, take the top (redbacked) card of the in-hand portion and deal it onto the tabled portion. Both red-backed cards are (together) on the tabled portion. Drop the in-hand cards onto the tabled cards. Pick up and square the deck. Do a perfect "in" faro; the top card goes to second from top. And, remember, you're working with a 54-card deck. Af-
â&#x20AC;˘1148-
ter the faro, the selected card will be sandwiched between the red-backed cards, but let's elaborate a bit.
Ask for the name of the selected card. As soon as it's named, turn over the centered -center of layout - card, the original sandwiched card, to show that its the correct card! Now say, "You may wonder how my 'patrol' found your card...well, undercover men are used." Turn up the single face-down red-backed card at your right; it will be the 4D. "Because this is a four, I'll count to the fourth card." Count down to the fourth card in the face-down portion, turn it up to show the matching 4D! Turn up the single face-down, red-backed, card at your left; it's the 2S. "This is a two, so I'll count two cards." Count down to the second card in the face-up portion - the matching 2S!
Do a face-down table ribbon spread to expose the sandwich near center. Gather all the cards above the sandwich (to its right, if you spread from left to right) and place them, as a squared packet, face down and to the right. All cards beneath the sandwich are squared and then placed face up to the left. Take the upper redbacked card (of the sandwich) and place it face down above (north of) the face-down on-yourright portion. The remaining red-backed card is placed face down above the face-up packet at
Ken Klosterman
your left. (Fig. 1 clears up the layout.)
Afterthoughts: You can make up your own patter theme, of course. Check out the two effects in the issue of Apocalypse mentioned at the top. And, there's an interesting similarity between the ending here and the ending of my routine, Amazing Prediction - out of RIM SHOTS. Only the endings are similar. Check it out.
A Whole Lot of Money
|en believes that the concept - the production of one ace at a time, plus the loading of a coin under each - belongs to Mike Rogers. I haven't been able to check it out but full credit to Mike of course if, in fact, the idea is his. Ken has added a few touches; it's a pretty routine, and a fooler.
all at a time. The answer is immaterial because you do the same thing in either case. Your patter changes slightly according to the answer. Table the face-down deck with a long side toward you. The thumb and second finger of each hand grasp their respective ends. Raise the right end of the top half deck slightly - and move it forward only enough to enable you to place the side of your thumbtip on the inner right corner of the top card of the lower portion. (See Fig. 2.)
Preparation: Fan/spread 4 half dollars the top coin spread away from you - and tuck that spread into the bend of your right knee, on the outside. The idea is to be able to steal one coin at a time with your right hand. (See Fig. 1.) Place whatever you want to use as the (flat) final load - Ken used his folded-in-half paper money when he did it for me - on, and near the front edge of, your chair between your legs. A giant coin is also a good final load. The four aces are at the bottom of your deck. That, of course, can be done as you're performing, during a preceding effect. The load preparation can be done in seconds.
Your left hand moves that lower portion slightly left and then toward you. If you make sure that the inner left corner of the lower portion's top card "clears" your left thumbtip, and if your right thumbtip maintains contact on that card's inner right corner, the card starts to pivot between the two halves. (See Fig. 3.) To Perform: Shuffle the deck keeping the aces on bottom. Ask a spectator whether he'd like to see you find the aces one at a time or
Continuing the movement - it's actually a combined movement of both hands (the right hand is moving away from you) -- that single card
-1149-
will get to right angle to both halves. Your left 2nd finger is a fulcrum point. (Fig. 4.) Lift the left-hand half, which just about automatically flips the single card face up onto the right-hand half. The left half goes onto the single face-up card. It's one fluid action; you've turned a card face up in a flourishy way and cut the deck at the same time. Square all; the face-up card protrudes from the outer long side. See The Pivot Pop-Out in THE CARD CLASSICS OF KEN KRENZEL for a similar idea.
The two cards are placed back on top. An ace will be exposed, protruding outward from beneath the top face-down card. Again, all the above is one fluid action, and it's done while the coin is thumb palmed. (Don't flash that coin.) Slide out the face-up ace with the right thumb and fingers and table it, face up, loading the coin beneath it. The easiest way is to let the coin drop to your curled fingertips as you're moving the ace to the table. Your attention is on the left-hand deck; your right hand falls naturally to your side and steals another coin. Repeat exactly; show that the same indifferent card is still on top, turn it face down and do the ace revelation. Table the ace, loading the coin. You'll be forming a fairly wide square formation with the aces. Repeat exactly for the third ace. The action for the fourth ace is also the same except that Ken likes to flash an empty right hand immediately after the
Place your 2nd fingertips at the card's outer corners; your thumbtips at its inner corners. (Fig. 5.) The next action can't be illustrated but you should get it to work on your first or second (or third) try. Smartly squeeze 2nd fingers and thumbs toward each other, which bellies the face-up card's center section upward which, in turn, flips over (face up) the upper half deck. An ace pops into view. Spread to show the four aces. This flourishy revelation of the four aces takes only seconds. Make a remark that fits the answer you received before. "Finding them all at once is too easy; I'll find them one at a time for you now," or - "Oops; I goofed. You wanted me to find them one at a time, didn't you? I'll do that now." In either case, put all the cards together and shuffle, but really get the aces to the top with one indifferent card on them. I think I can leave that to you.
As you hold the deck in your left hand and patter, your right hand falls naturally to your side and steals one of the half dollars. The coin goes directly into thumb palm as your palm-down hand comes up and approaches the deck. Flip the top card face up to show that it's not an ace. Flip it face down again, and - push the top card forward with your right fingers (its outer end downward) until your right thumbtip can contact the 2nd-from-top card and slide it forward face to face with the top card. As they move face to face start to turn over both cards (end over end) toward you. (Fig. 6 shows that just starting.)
6 ace is revealed. So, don't steal the last coin yet. Do the same ace revelation, leaving the ace on the deck beneath the indifferent facedown card. Gesture toward it with your palm-up, empty, right hand. Then, as you patter, drop your right hand to steal the last coin. Table the ace, loading the coin. As soon as you've done so, spread the deck and hold it in spread/fan condition in your right hand. (See Afterthoughts.) Start the ending patter - "It's quite difficult to find the aces that way when they're lost among all these cards (reason for spreading). Do you know how much it cost me to learn how to do it? It cost - a - whole - lot - of - money!" The actions to fit the patter, and I'll have to leave the timing and the rhythm to you. You're also going to steal the final (flat) load that's on your chair to beneath the right-hand spread of cards. There are three ways, and I'll leave that to you, too. You can hold the spread near the table's edge; as you talk, your left hand drops to your lap and brings the load up to beneath the spread. Your right 2nd finger holds it in place under the spread. Then your left hand starts to lift the aces off their coins, one at a time. Or, you can start to lift off the aces with your left hand as your right hand, with the spread of cards, casually drops to your lap. Your 2nd finger takes the load to under the spread. Your right hand moves up again. Or, you can lower the spread and steal the load as you talk and before you start lifting any aces. In â&#x20AC;˘1150-
Afterthoughts: Obviously, you can pressure fan tHe deck and hold the fan in your left hand. Your right hand would lift and move the aces; your left hand would hide the final load under the fan. It's difficult to be really specific with something like this because each person will handle it just a bit differently.
all cases, table the right-hand spread, loading the bills or the large coin, within the "ace square" as soon as you can - as you start lifting and moving aces. The last thing is to lift the spread to reveal the wad of bills or the giant coin. All to the patter - "...a - whole lot - of - money."
"X 7b See"
Ron Ferris
half, using both hands simultaneously. These cards are placed into two separate face-down packets above the two halves. (Smyth-Myth kind of action - you're forming a square of packets.) Continue until the face-up 3S appears on one of the original halves. "X marks the spot!" Use the 3S to flip face up the top card of the other original half. It's the selected card!
Try this; it's a bit strange, but it's effective. It's based on the 26th-card key, with some unusual "dressing." There's a set-up involved. Place the 26 blacks onto the 26 reds. The bottom card is the AH; the 26th card from bottom (top red) is the AD. The 27th card from bottom (bottom black) is reversed and has a big "X" on its face. (Assume it's the 3S.) The 28th card from bottom is the AS, and the top card of the deck is the remaining black ace - A C , in this example.
Toss aside the selected card - "X really marks the spot" - use the 3S to flip face-up the top card of each of the four packets, to expose four aces! Toss aside the aces and the 3S. Casually move the lower right, original half, up to the right of the (now) upper left dealt-off packet, and move the lower left, original half, up to the left of the (now) upper right dealt-off packet. What you're doing is criss-crossing the two original half decks. (See Afterthoughts.)
False shuffle and cut. Table ribbon spread the face-down deck, exposing the face-up 3S. Point out the X on it, and talk about "X marking the spot." Gather and square the deck. Ask your spectator to cut the facedown deck into three left-tp-right packets. The only "necessity" here is that the face-up 3S is in the center packet. That's just about automatic .
Pause - talk. Then (again, casually) combine the two left packets into a half deck and combine the two right packets into another half deck. Stress the fact that you worked from precisely the spot that he'd cut to - then, flip both halves face up and ribbon spread them downward to show that all the reds and blacks are separated!
Pick up the right-end (original top) packet and shuffle it. What you do is shuffle the AC to the bottom, then shuffle it back to the top. Drop this portion onto the (original) center portion. Pick up the left (originalbottom) packet; shuffle it, retaining the AH on bottom.
Afterthoughts: Two packets (either the original halves or the dealt packets) have to be criss-crossed in order for the reds and blacks to come together. I've explained it the way Ron does it. There are other ways, of course. For example; when dealing simultaneously until you reach the 3S - you can casually criss-cross deal then. That is, deal the cards from the lower left packet into an upper right packet, and the cards from the lower right packet into an upper left packet. Or - when showing the aces on top of each packet - show the two upper ones first, then pick up the lower packets, one in each hand. Deal the aces off face up and replace the packets between the other two, criss-crossing them. Pause and talk for "time misdirection," then end. I have to leave the criss-cross method to you.
Don't re-table this portion. Hand to hand spread it for a selection. Your spectator remembers this (red) card, then drops it onto the tabled portion. Drop your in-hand portion onto his card - the deck is re-assembled. Let your spectator cut (straight cuts) as often as desired. Stress that you'll continue from wherever he stops cutting. (If you like, you can false shuffle before he cuts.) When he stops cutting, take the deck and remove the top 26 cards without reversing, or changing, their order. (If you're a faro shuffler, you can simply cut off those 26 top cards.) The halves are tabled left-right; leave about ten inches of space between them. Remove
single cards
from
the top of each
Ellipses (...) MM say something like this every year, in the December issue. As I prepare the cross-index for this, the last issue of the year, I remain amazed at the wealth of good to great material cramming the pages of Apocalypse. I rarely have the time to concentrate on more than one issue at a time. It isn't until I start cross-indexing that I have all the issues in front of me and can get an "overall overview" of the entire year. And, I feel the same this year as I have each preceding year - I'm pleased; kinda' proud, too. I don't know of any other magazine in magic that gives its subscriber/reader as much for his money. I know that most agree with me, at least those who write do. How do you feel about it!? And, each year I feel that I just don't have the time to do this anymore - but, somehow, I get those issues out - and, again, at the end of the year, I'm pleased. Of course, you have
â&#x20AC;˘1151'
a lot to do with it, too. I need your support. I need that support financially... obviously, without your subscription checks Apocalypse couldn't continue. But I also need the moral support... I need to know that you want Apocalypse to keep comin' at you. It's difficult to separate the two, of course. Basically, it's your financial support that also supplies the moral support! Aside from the great magic that appears in Apocalypse month after month - and I've plenty more terrific magic impatient to appear (which doesn't mean you're to stop sending in your contributions - I need that kind of support, too...right now I can use non-card material, but I welcome card stuff, too) - I don't think Apocalypse has ever been late. (If it has, it's the good ol' post of f ice. . . it' s always gone out on time.) I believe that's more than can be said about any other magic magazine. Don't know about the future, of course (although I see no reason for change) but I sure can brag about the past eight years. I also like to brag about the fact that the stuff in Apocalypse is used by performers amateur and professional - all over the world. I like to brag about the fact that I'm told, quite often, that each issue of Apocalypse is worth $10 to $15 minimum. I like to brag about the fact that you support Apocalypse! Finally, I like to brag about the fact that Apocalypse starts its ninth year, ninth volume, with next month's (blockbuster anniversary) issue. As I said in the December issue last year - just thinking of the number of years puts me into a mild state of shock. If anyone had told me back in 1977/1978 (the first issue of Apocalypse is dated January, 1978) that the magazine would run for all this time — never missing a month, always being on time — I'd have thought his elevator wasn't quite making it to the top floor! You keep subscribing... I'11 keep writing. Don't leave me now! •k-k-k
I've been doing some traveling... book promotion tours, European vacations, etc. I haven't the space to talk about it here - perhaps in a future issue. *** As of next month's issue — January, 1986 — dealers will be charging $4.00 per copy of Apocalypse. .. for current and back issues. They have to - they'll be paying more per copy. I want you to support your local magic dealer, of course, but remember - you save $8.00 by subscribing. To those who include the notes containing those kind words with their subscription renewals... thanks for both - the kind words and the renewals. *** Can you think of a better Christmas gift for a magician than a copy of BEST OF FRIENDS, VOLUME II and/or a subscription to Apocalypse? I can't. And...each year, at this time, I have to be sure to thank everyone in advance for their Christmas, Chanukah, and New Year cards. If I don't, some people become angry with me! I can't possibly send a return card for each one I receive (more arrive each year). By the time I got around to all of them, some would be St. Patrick's Day cards! Please consider this my personal Season's Greetings to you. * HAVE A HAPPY HOLIDAY - AND A HEALTHY & HAPPY NEW YEAR! *
Remember - if you photocopy this magazine, (anniversary
you lessen its worth to YOU!
issue):
Doug Edwards The Stunning, Jumping, Jack Jay Marshall Down And Out Bill Switch J. K. Hartman Rise Guys Ed Mario Raised Assembly Larry Jennings "Can't Be Done" Shigeo Takagi No-Reel Silk Through Tony Miller See-Through Prediction
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