Apocalypse vol 10 by Conjuring Arts Research Center

Lofayne's $4.00

VOL 10 NO. 1

JAN.,

1987

pocalypse ISSUE NO. 109

KEN KRENZEL SLOWED UP |en always liked Bob McAllister's "insideout" idea - even before it appeared as The Fastest Trick In The Universe (in the November, 1985 issue of Apocalypse). It's a topological concept, and Bob presents it as a fast inside-out effect utilizing a $1 bill. Ken wanted a "slowed-up" version, and he didn't want to use a bill. So; this is Bob's idea, Ken's handling, my writing. It will be much easier for you to follow if you are familiar with Bob's handling. If you aren't, check it out in the November, 1985 Apocalypse. A picture (court) card is prepared with one cut of an Exacto razor blade, or any razor blade. Cut from exact center of an end to center of the card. (Fig. 1 - the dark line represents the cut.) You can pre-fold the card into quarters, if you like (to make the folding during performance easier), but it isn't really necessary. That's up to you. To Perform: Remove the prepared card from your deck or from your pocket. Hold it at the cut edge with your right hand; thumbtip on the card's face, forefingertip on the card's back. You can flash front and back of the card; the cut can't be seen - not on a picture card. Fold the card into quarters, like this: Your palm-up left hand grasps the free end of the card its palm toward the card's face. Your left thumbtip and second fingertip are each at one of the corners of that end. Those two fingers will fold the card in half lengthwise - along the slit. (Fig. 2 shows this just starting. Incidentally, this figure in the November, 1985 issue is incorrect - it shows the forefinger at one corner.) COPYRIGHT 1987 by H. Lorayne. Inc.

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Fold that outer end in half; your right forefingertip remains on, and presses down on, the slit. Your right second fingertip moves onto its side of the folded end and your right thumbtip moves onto its side. Your right forefingertip, pressing down on the slit, is what keeps the slit from spreading and/or being seen. If that slit is off center, pressure from that forefingertip will center it. Your right thumbtip and second fingertip press against each other, keeping the inner cut end (the two separated long halves) stationary. Your left fingers haven't creased their fold yet. (Fig. 3; the dark line is the slit. I'm showing it for teaching purposes, of course.) Okay; crease the outer end's fold with the left fingers.

along the length of the hand. The single (hidden) quarter should go right into finger-palm position. The outer left corner of the package should "lock in" to the fleshy base of the left thumb. (Fig. 6. In performance, the tips of the left fingers would be toward your spectator. I've raised the right fingers so that you can see the single quarter card.) Slightly curl your left fingers, grasping the single quarter card in finger palm (as you remove your right hand). The point here is to flash the package to your spectator. (Fig. 7 is how it should look to him; Fig. 8 is the true situation.) Hold that position for only a beat or so. Then close your left fingers - that will automatically fold down the single (now) faceup loose quarter card! Its outer left corner should butt into your thumb base â&#x20AC;&#x201D; and hold. (Fig. 9 is an exposed view. During performance, your fingers cover the face-up situation.)

\ At this point, the right end of the card is folded differently than in Bob's handling. It is folded to the left, toward you. (In Bob's handling, it's folded away from you.) Simple really - you want one of the "loose" quarters toward you, and this does it. The left end of that quarter will be slightly "short." That's just about automatic. So, it's easy to let it riffle off your left thumbtip. Do that - let it riffle off. As it does, your right thumb moves to the top of the "package," to the slit, actually, and starts to open that single quarter. You're leaving three quarters/layers. (Fig. 4 shows that single quarter just starting to unfold. Your fingers shade all from the front.) Unfold the quarter card all the way. And at the same time, your left hand moves its portion upward/right so that the package is at almost right angle to your right hand. (Fig. 5.) From the front, it appears only as if you are still holding the completely folded (into quarters, and back-out) card. Now - turn your right hand palm down and place the package onto your palm-up left hand -

8 Pause for a beat. Do a magical gesture over your left hand with your right hand. Then, slowly open your left hand to show the face-up package! Unfold the card slowly and carefully to show that the entire card has turned itself inside out - it's all face-up. (The top two layers will fold to your right.) Obviously, you have to keep the slit hidden - keep those two quarter cards together. The handling here will "fall into place" for you as vou work with the idea. Second Handling: I like this one better. It's only the end handling that's a bit different. Fold the card exactly as explained; the loose quarter is secretly opened, also as explained. Hold the package in your right hand except that it is not tilted to a right angle. The three-layer part of the card points straight out of your fingertips.

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Display the back of the folded card for a beat the single quarter is hidden by your right fingers. Then place it onto your left palm - at right angle. (Fig. 10.) Turn your left hand toward you - to palm-down position. This will automatically turn over the single loose quarter! (Fig. 11 shows this in progress.) Close your left hand around the package. In appearance, you are simply grasping the folded card. Your right hand does its magical gesture. Then, turn your left fist fingers up and slowly open the hand. Your thumb rests on the package to make sure that it doesn't spread open pre-

maturely. Slowly unfold the package to show that the card has turned inside out.

Robert Bengel

Afterthoughts: What Ken does is to go directly into a torn-and-restored card effect -one in which one quarter card is torn off as the first part of the routine - immediately after Slowed Up. That "covers" the prepared slit. He uses either Paul Harris' or Danny Korem's method. (See the Afterthoughts of the original Bob McAllister routine.) If you don't want to do that, simply pocket the card, or - tear it into pieces and drop the pieces onto the table.

Purse-uing the Mint

B ' v e seen Bob perform this routine for a fairly large group. He does it standing behind a table; the table has a close-up mat on it. It goes over well. The basic effect: A purse frame is displayed, so is a wand. The wand is spun, the purse frame tapped, and a coin is produced from the frame. Four coins are eventually produced, and there are two good surprise "kickers" at the end. No lapping, servantes, or topits are needed.

sentation. Toward the end of the routine, Bob uses a female helper - he keeps her at his side (right side) to serve as misdirection for the last "piece," as you'll see. To Perform: With the coins "set" as above, your left hand displays the purse frame and the right hand displays the wand. Obviously, you have to be familiar with the angles. Your spectators' attention is on the two displayed items and they see both your palms; your hands seem to be empty except for the purse frame and the wand. You might talk about invisible coins being in the invisible part of the purse.

2 What you do need are four coins (Bob uses half dollars); a purse frame - a fairly common magic prop, just the small purse frame, without the leather pouch (see The Purloined Ring in the September, 1983 issue of Apocalypse); one matching regular small purse; a "magic" wand and the ability to spin it in a flourishy manner. Keep the regular purse in your left outside jacket pocket. When ready to perform you have to "set" two coins into left-hand finger palm, and the other two in right-hand finger palm. They're in "high" finger palm so that the spectators can see your "empty" palms. (Fig. 1 is the basic position, the coins can't be seen. Fig. 2 shows the hand holding the wand while the two coins are finger palmed.) Since this is not a routine for beginners, I'll assume that you can do the few necessary moves - I won't describe them in detail. I'll also let you fill in your own patter and pre-

With your right hand, place the wand under your left arm. This frees your right hand so that it can take the purse frame and display it to the right side of your audience. Then, place it into your left hand - to "production" position. That is, the upper metal frames â&#x20AC;&#x201D; the snap part â&#x20AC;&#x201D; run along your left forefinger; only a small part of the frame is visible. (See Fig. 3, which is an exposed performer's view. The purse frame is shown closed; when ready to "produce," you'd open it, of course.) Take the wand with your right hand, spin it and tap the frame at the end of the spin. Place the wand back to under your left arm and reach into the (open) purse frame and "produce" one coin (one of the left-hand finger-palmed

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coins, of course). Do not allow the two coins to "talk" as you do this - not too much, anyway. Display the coin at your right fingertips, then table it near the outer-right corner of the mat. Take the purse frame with your right hand and table it near the coin. Take the wand with your right hand, tap frame and coin, and say, "This is what the coin would look like if you could see it" - or anything to that effect. Leave frame and coin on the table and produce the second coin. It should look as if the coin appears at the end of the wand. It has to be done with proper timing, obviously. It's the remaining left-hand finger-palmed coin that's produced. It is pushed to your fingertips with your thumb. Then, timing it with the wand spin, push the coin up over your forefinger. The wand (spinning) is the misdirection; an end should hit the coin as that coin pops up into view. (Fig. 4.) What Bob does is to stop the spinning wand by letting an end hit the coin â&#x20AC;&#x201D; and to produce a clink. Display this coin; leave it in your left hand. Place the wand under your left arm. With your right hand, pick up the first tabled coin and drop it onto the left-hand coin. Display these two coins to spectators slightly to your left. Shuttle Pass them to your right hand as you display to people slightly to your right. (The two left-hand coins remain in left-hand finger palm; your spectators believe that you have tossed them onto your right hand.) In appearance, you've tossed the coins from left to right hand only for display purposes. Table the two right-hand coins near the outer-right corner of the mat. Take the purse frame and place it back into left-hand production position. Take the wand from under your left arm, spin it, tap the frame, put the wand back under your left arm - and produce another coin (coin #3) from the purse frame. Display this coin with your right hand and then pretend to place it back into the purse frame. Really keep it in your right hand (finger palm) as your left hand lowers to show both the purse frame and the coin. What you've done is a Shuttle Pass. (Fig. 5.) With your right hand (coin still finger palmed) take the visible left-hand coin and table it near the two already-tabled coins. Table the purse frame near the three coins. Pause for a beat or two so that everyone can see the purse frame and the three coins. It's at this point that you can ask a lady at your right to assist you. She may remain seated, or you can have her stand at your right, according to performing circumstances. Pick up the three tabled coins with your right hand, secretly adding the finger-palmed coin to them. Stack the coins on the table, flash your empty right hand; your hand "shades" the coins, don't let the audience see that there are four coins

Remember - if you photocopy

this magazine,

in the stack; supposedly there are three there. Pick up the coins as you ask your helper to hold them in one hand. Drop the four coins into her hand and close her hand around them. Tell her to hold tight as you turn her fist fingers down. This is to make sure that she does not open her hand prematurely. Let both your hands be seen to be empty as your right hand picks up the purse frame and places it back into left-hand production position. Take the wand with your right hand, spin it, and tap the purse frame. Table the wand. Reach into the purse frame with your right fingers and pantomime removing (producing) a coin. Table the purse frame with your left hand.

Place the invisible coin into your left hand and pick up the wand with your right hand. Spin the wand, tap your left fist. Open your left hand - the coin(?) is gone. Look at your spectators, and say, "Now that's magic!" Tap your helper's fist with the wand. As you ask her if she "felt" anything, your left hand casually picks up the purse frame. Ask her to open her hand and to count her coins onto the table. Of course, she counts four coins. There's plenty of time (and misdirection), during her counting, for you to casually put your left hand into your pocket and switch the purse frame for the real purse. Bring out your hand with the purse in production position (only the top metal frame[s] show). When the four coins have been counted, tell your helper to sit down and/or ask for applause for her, etc. Bring attention to the coins as your right hand picks them up and drops (or tosses) them into the purse frame (really a real purse now). Pick up the wand with your right hand, spin it, and tap the purse. Table the wand, then slowly open your left hand to show that the leather part of the purse has magically appeared! Open the purse (if it isn't already open), dump out the four coins - to end. Afterthoughts: You can, of course, do the same routine without spinning the wand; handle it normally. It looks better when done just as described in the text. Learn the routine - it's a good one.

you lessen its worth to YOU!

(Special All-Card Issue): Hippie Torrales - The Leaning Tower Of Pasteboards Jon Racherbaumer - Fuddle Aces Ron Frost - All Wrong! Jim Patton - A-Foldable John W. McClure - "General"ly Speaking And - Doug Edwards, Mark Sicher, Gilles Couture, plus...

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David Regal

The Divining Card

|his is an example of the excellent magic that will be in THE MIRACLES OF DAVID REGAL, when I get around to writing it. What a very good effect it is! I believe the concept is Alex Elmsley's, but I've never seen an impromptu version performed this simply. It's direct and striking. There's plenty of room for improvisation. For example; the aces have to be magically produced, one at a time. You can use your favorite "reveals" - the ones you do best. Let me teach you the basics - then you're on your own; you've have to fill in, round off, in ways that fit your personality, presentation - and attitude.

the double, take off the top single card (the signed selection) and place it under the spectator's hand onto the divining card. Ask him to raise his hand, or just the thumb side of the hand, so that you can place the card. And say, "But don't let me touch the divining card!" Patter about having found that first ace. The AD remains on top of the deck proper.

The basic effect is that you place a facedown card onto the table; a spectator places his (or her) hand onto it. This is the "divining" card - or "mystery" card, if you prefer. That's what I mean by "rounding it off" yourself; you may want to call it your "prediction" card. A card is now freely selected, signed across its face, and lost into the deck. Now the four aces are magically produced one at a time. Each ace is placed onto the "divining," "mystery," or "prediction" card that's under the spectator's hand. You never touch that card. The patter, the "rationale," is that the aces will "power" the divining card. (Or, you might say that you have to "work up" to finding his card by finding the aces first.) The five cards - aces, and the "divining" card that has been beneath the spectator's hand since before a card was selected and signed are picked up. The four face-up aces are dealt onto the table. The remaining "divining" ("prediction" or "mystery") card is shown to be the signed selection!

Now produce the bottom black ace. David does an in-hand "pivot out," but any revelation will do. You can double cut the ace to the top then do the air-turnover drop to the table, or whatever. (See Afterthoughts.) "And there's the second ace." Place it, face down, onto the two cards already under his hand. "But don't let me touch that divining card!" Produce the next bottom card - the second black ace. Use a different revelation - or the same one; up to you. Place this ace onto the three cards that are under his hand. "I won't touch that divining card!" The AD is still on top of the deck. Produce it magically. I use my own Lorayne Spin (REPUTATION-MAKERS) for this one. Enough time has passed so that the fact that the AD shows twice is never noticed. Place it onto the four cards that are under his hand. (Position check - from top down: AD, black ace, black ace, signed selection, AH.)

The preparation can hardly be called that: Get the AD to the top of the deck, and the two black aces to the bottom. That's all. To Perform: It's the AH that's placed beneath the spectator's hand (spread the cards faces toward you, find the AH, and place it) that's the "divining" card. Be careful not to flash it as you table it. Obviously, either red ace can be used as the divining card; for explanation purposes, it's the AH - the AD is on top of the deck. Fill in your patter - stress the fact that the divining card is being placed under his hand before anything else is done, you won't touch that card again, and so on.

Table the deck proper and pick up the 5card packet. Patter about the four aces "powering" the divining card. As you patter, deal the four aces into a face-up tabled left-to-right row, like this: Deal the top card (AD), then deal the next top card (black a c e ) , then deal the bottom card (AH), then deal the top card (black ace). The bottom deal is done when you are holding a 3-card packet; it's easy. What I do is to simply spread the three cards (the top card to left, the bottom card to right) with my left fingers as my right hand approaches. The bottom-card "take" is really easy. (Fig. 1 .) Just don't break the dealing rhythm. The aces fall red, black, red, black; David feels that it looks better that way. I agree.

Now, let the spectator (either the one who is guarding the divining card, or another) select any card. Let him sign its face; turn away as he does so. This card is replaced into the deck and apparently lost. What you have to do is control it to the top, onto the AD; the two black aces have to remain at bottom. Easy: Kick (swing) cut the top half deck into your left hand. The signed selection is placed onto the left-hand half, drop the right-hand half onto the left-hand half holding a momentary break between the halves. Double cut to the break. You're set.

You are left with one face-down card in your hand - the "divining" card(?). Build it up. "This card has been under your hand since the beginning. Let's see if it really did 'divine' your card." Turn it over slowly - to reveal the signed selection!

"I won't touch that divining card, but I have to find the four aces in order to power it." Do any kind of false cut - a flourishy one is best - then do a double turnover to show the AD. You've "located" the first ace. Turn down

Afterthoughts: Work out the ace "reveals" you want to use; that, of course, is part of the "happening." The routine is impromptu and

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the "broken" card. It falls to the table face up. Place the right-hand half onto the lefthand half, holding a momentary break; double cut to the break and you're ready to continue.

easy to do. The signing of the card is important - unless you're using a borrowed deck. To produce the last ace (AD) I'll sometimes shuffle one card onto it. Then, I show that there's no ace on top doing my Ultra Move (see AFTERTHOUGHTS, BEST OF FRIENDS, VOLUME I ) . I magically change the indifferent card to the AD. I occasionally use The Ultra Move the first time I "produce" the AD. If so, I "lose" the signed selection via the Bluff Pass replacement (right hand picks up only one card after being stopped during a riffle down) or Tilt. This places the selection to second from top, directly beneath the AD - and ready for The Ultra Move. For the second ace, you might want to use the drop-f1ipover to face-up position from an apparently cut deck. Your right thumbtip holds a break above the bottom card (right hand holds deck from above). "Kick" cut the top half into your left hand as your right thumbtip releases

EDWARD MARLO

You might want to check page 234 of QUANTUM LEAPS for a detailed description of the drop-flipover reveal. Piet Forton's "catch between two halves" production (or any variation thereof) also fits well. (See The "Twinkling" Change in the March, 1985 issue of Apocalypse.) And so on. The last time I saw David perform the routine, he didn't use the spectator's hand - he put a saltshaker (use an ashtray, sugar packet, anything) on the divining card. He asked the spectator to raise (slightly) the saltshaker each time he placed an ace onto the already-tabled cards. He uses either presentation. It's excellent magic!

HIGH-RISE ASSEMBLY

It's a matrix effect - 3 card-covered dice magically join a 4th covered die. Ed tells me that a dice "elevated matrix" is claimed as independent invention by Jay Sankey & David Ben. Both versions are in print. Both use a ring (a wedding band) as the gaff, both use dice that are only 1 cm in width. One version uses 2 covering cards, the other uses 4; one uses Tenyo's Squeeze Play while the other uses Schneider's Basic Vanish - to cause a die to disappear; one version covers with sloping cards, one perches or balances each card on top of each die.

easily feel the sticky surface so that you can finger palm the die sticky surface up before your left hand comes out of the pocket. Your right hand, holding the deck from above, places the deck into your left hand directly onto the die. Your left fingers press the die up against the bottom card to make sure it sticks. The die should center between the ends (lengthwise) of the card, but be off center (toward the left or inner long side) considering the card's width.

Ed wanted all this mentioned so that you could see the completely different approach in his (practically non-sleight-of-hand) method. He originally used 3/4-inch dice, but now uses 5/8-inch size. (I tried it with ^-inch dice all work just fine.) The main modus operandi is a mounting item called Spot-O'-Glue, by Avery (style #6001). Ed used this in a coin routine, Raised Assembly, in Apocalypse exactly a year ago (January, 1986 issue). These tabs enable you to deposit a dab of glue (rubber cement) onto any surface. There is a picture of them in the Jan., 1986 issue. (If you can't find these, a fine film of rubber cement - dry - is a fair substitute.) Assuming you're using the Avery Spot-O'Glue tabs, cut each in half, lengthwise, before applying to a die. You need 5 similar dice. (A no-extra-die method is explained later.) Apply the spot of glue onto the center of the 6-spot surface of 4 dice. No glue near the edges. The 5th die is untreated. The 4 covering cards need to be fairly stiff (I had no problem with Tally Ho or Bicycle cards). If you prefer, you can use heavy white plastic cut to size. Two ways to start. In each case, one treated die is in your left outside jacket pocket; the remaining 4 dice are in your right jacket pocket. For each method, your left hand secretly adheres one die under a card; the when and how are different. The first method (Ed's preference because both hands are free): Your right hand holds the deck; your left hand secretly obtains the treated die from your left pocket. Your thumb can

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Now, your left fingers slide out the bottom 4 cards and bring them up onto the top of the deck - stepped to the left (or inner) side so that the clinging die is hidden by that side of the deck. Take the deck from above with your right hand and table it - vital side toward you. This is pretty - the die is just about as high as the deck is thick; nothing untoward is seen by your spectators. (Fig. 1, your view.) Edward sent me Polaroid pictures shot through a screen which enables them to be reproduced. It's the first time I'm trying it; I hope they reproduce clearly. Your hands are free. (The 2nd method consists of simply placing only four cards onto the finger-palmed die. Your left hand holds all as your right hand removes the four dice from the right jacket pocket.) Place the 4 visible dice onto your working surface in square formation; the untreated die at inner-right corner. As you place the 3 treated dice make sure that the one-spot is toward you on the outer-right & inner-left corner dice. The outer-left die faces any way so long as the treated 6-spot surface is not downward. (Fig. 2 shows the 4 left-hand cards and the tabled dice layout.)

but â&#x20AC;&#x201D; as the card moves onto the outer-right die, that die is secretly turned (one turn toward you) with the side of your right thumbtip, under cover of the card, to bring its treated 6-spot surface upward. (Fig. 7 is a stop-action exposed view.) As you complete the covering action, press down with your right 1st fingertip. This assures that the die adheres, but looks only as if you're balancing the card. (Fig. 8.) At the same time, your left hand replaces its card; it does not turn the outer-left die.

With your right hand, grasp the inner end of the left-hand 4-card packet and one-hand fan the 4 cards, backs to audience, of course. (See Fig. 3 - note the off-center position of that clinging die.) It's all quite disarming.

11 Your left hand now moves toward you and lifts the card at inner-left position to display that die. Replace the card - and do the secret turn, bringing the 6-spot surface upward, and then the press-down "balancing" as in Figures 6, 7 and 8. With your right hand, tip forward the outer-left card as your left hand moves behind the card & picks up the die. (This is a feint; the same actions are done later when you pretend to pick up the die. Fig. 9 - audience view.) Close your left hand around the die & move the hand upward as your right hand maintains its grip on the corner of the card - between thumbtip & 1st fingertip. Gently wave the card over your left hand (& the d i e ) , as you say, "I'll cause this die to become invisible and then drop it invisibly through that card. (Indicate inner right.) You won't see it, but you may hear it arrive.."

Let the die be seen as your left hand replaces it to position, but with the treated 6spot surface upward. Your right hand places the card onto it, pressing down to assure adherence as in Figure 8. That outer-left die should be covered as you end the patter line. Then, "... but let's start with this die," as you indicate the inner-left corner. Your right hand tilts forward that card (inner left) as your left hand moves behind it, as in Figure 9. Pretend to take the die; the actual situation is as in Fig. 10.

As the small fan is placed onto your left hand, your right hand takes the gaffed card at its extreme inner-right corner, between thumbtip & 1st fingertip. (Fig. 4.) Place this card, long side toward you, & hidden die toward you, onto the inner-right die so that the hidden die is directly behind the tabled, untreated die. Try this & you'll see what a simple and natural action it is. Place one of the remaining three cards onto each of the other 3 dice. (Fig. 5.) Let a spectator press down on each card or do it yourself -- to "prove" that the dice are solid. This is a subtlety that adds to the deception. Use both hands simultaneously, and lift the outer-right and outer-left cards off their dice. They're taken at their inner left/ right corners and moved toward you - to display the two dice. (Fig. 6; spectators' view.) Replace

these

two

cards

onto their dice,

The fact that you're holding the card at an extreme corner, and that the card is on its long side, makes the "pretend take" look true; it can be a perfect illusion. Hold the die in your left hand for a moment, as in Fig. 11; you are pretending to hold the die between thumbtip and 1st and 2nd fingertips. Then pretend to release the die by relaxing your thumb, so that it falls down onto your left palm. (Fig. 12 -

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note that the thumb is now away from the other fingertips. ) Gently wave the right-hand card over your left hand. From about 12 inches above the tabletop pantomime "pouring" the left-hand (invisible) die through the card at inner right. Open your left hand (it's seen to be empty) & grasp the inner-right card at its sides. Raise the card fractionally as your left fingers squeeze the sides downward. (Fig. 13.) Just before you squeeze the sides, say, "You didn't see the die go - but you'll hear it arrive." Squeeze the sides - & there will be an audible click as the die comes free of the card. (Ed says, "Those who know the method will regard the 'click' as a sort of give-away; however, those who do not know it will wonder how you made the sound. ) Raise the card with your left hand to reveal 2 dice. Toss the left-hand card, face up, onto the table at center of the layout. Return to the 2 (inner-right) dice with your left hand & give the just-arrived (treated) die one (quarter) turn to the left so that the treated 6-spot surface faces left. Your left fingers move the 2 dice side by side, as your right hand places its card onto them. Make sure the hidden clinging die goes behind the 2 dice.

2. Turn the newly-arrived die one turn toward you - the treated surface faces you. (The reason for turning dice as explained is to keep the treated surfaces away from each other; you don't want 2 dice to visibly adhere.) The effect is over; your right hand holds a card with a clinging die. Place it face down onto your left hand; the hidden die is at finger-palm position. (Fig. 14; the 3 tabled cards in this photo should be face up.) There's no pause here - your right hand picks up another tabled card & places it, stepped to the right, under the left-hand card. (Fig. 15.) The remaining 2 cards are also placed face down under the left-hand cards. Now, by simply squaring the 4 cards the hidden die is automatically dislodged, falling into finger palm. The right hand can toss the 4 cards onto the table or onto the deck. Your right hand picks up the 4 tabled dice & tosses them into your left hand, which pockets all five. End. No-extra-die method: If you'd rather use only 4 dice, try this: 3 are treated, one isn't. Layout & card covering is as explained, untreated die at inner right. Pretend to pick up innerleft die as per Figures 9 through 12. Then, as you say, "Remember, there's only one die here," use right-hand card (with clinging die) to flip card off untreated die at inner right. Cover that die with right-hand card, loading clinging die. Pick up flipped-off card with right hand & wave it over left hand. "Pour" die out of left hand, then grasp inner-right card as in Figure 13 to cause audible arrival. Two dice are displayed. Turn treated 6-spot to the left. Cover two dice with right-hand card.

Cause the die at outer left to "travel" by repeating, exactly, the actions depicted in Figures 9, 10, 11 and 12 - to make that die "disappear." Then, to make it arrive audibly under the card at inner right, do the actions of Figure 13. Toss the left-hand card face up near the 1st face-up card. Turn the newly-arrived die one turn to the right so that its treated 6spot faces right. Place the right-hand card onto the 3 dice, loading the hidden clinging die. Repeat exactly (all actions from Figure 9 through 13) to make the outer-right die travel. After the Figure-13 action and raising the card to display four dice, your left hand tosses the card, face up, onto the table to join the other

PUBLISHED, WRITTEN, EDITED:

Harry Lorayne

Repeat pick up exactly with outer-left die. Again, right-hand card with clinging die flips off inner-right card - "Remember, only two dice here." Re-cover with right-hand card, loading third die. Pick up flipped-off card with right hand and wave over left hand. "Pour" die, then left hand causes audible arrival at inner right. Turn treated 6-spot surface to the right, and cover three dice with right-hand card. Repeat exactly for 3rd (& last) die. Show only 3 dice at inner right, as explained. Cover three dice with right-hand card, adding the 4th die. End by "vanishing" left-hand die and showing its arrival at inner right. Afterthoughts: The exact procedure (both methods) works with coins. All you'd have to do is put a Spot-O'-Glue on the head side of each of 3 coins, etc. The holding of a card at the extreme corner with only the tip of thumb & 1st fingertip will surely puzzle magicians familiar with the Schneider Pick-Up Move.

<& t986 Al HncMeW Drawing reproduced t * speed CTTongement with HnchfeWs enctuyve representotve. The Morpo Feoen Gctenes, New York

ILLUSTRATIONS:

Robert E. Lorayne

J. K Hartman

Trappings of a Miracle

|erry writes: "Tommy Ellison's A Case Of Black Jack (Apocalypse; December, 1979), an approach to the Elmsley 'Between The Palms' theme, has a strong effect that was the starting point of the following overhaul." Jerry's handling is different enough to make it a stand-alone item. Assume that the four aces are in a tabled face-up packet following a preceding 4-ace routine; the black aces are between the red ones. Also, for teaching purposes, get the KS to the top of the deck and the 2H to second from top. The basic effect is that two signed selections magically change places while each is trapped between two aces. The first action is a display of the aces. During the display, one face-up ace is secretly loaded to beneath the face-up KS. Like this: The face-down deck is in your left hand. Your right hand picks up the face-up ace packet from above and uses it to lever over, face up, the top card of the deck, the KS. "This next trick will use this card...the king of spades." Get a momentary left little fingertip break beneath the face-up KS. And as you say, "The aces play a role, too..." do the following actions:

Your left thumb peels the top right-hand (face-up) ace onto the deck and also, apparently, onto the KS. Actually, as that first ace is peeled, your right fingers steal the KS to beneath the right-hand packet in Biddle fashion; your right thumbtip maintains a separation between the KS and the rest of the ace packet. Your left thumb peels the 2nd ace simultaneously releasing the "broken" KS beneath it. Peel the 3rd ace, then the 4th ace. (Crucial for any count of this kind is not to break the rhythm of the count.)

Have a spectator (#1) initial or sign the face of the KS. Flip the double card face down, remove the top single card, and table it to your right and slightly forward. Ask spectator #1 to be its guard by placing a finger on it. Do a double turnover to show (this example) the 2H. Let spectator #2 initial or sign it, and remember it. Flip the double card face down but, as you do, get a "Tilt" break beneath it. (Jerry always slants the outer end of the deck fractionally upward to maintain the flat, or parallel-to-floor, plane of the top of the deck when he prepares for Tilt.) Slide off the top card of the deck (supposedly the 2H) and apparently insert it to center deck, actually "Tilting" it to second from top. I have to assume that Apocalytes, by now, know how to Tilt a card. (If not, check out Ascanio's Ambition For Two in the May, 1984 issue of Apocalypse among others.) Square the deck, ultimately retaining a break under the top card. (Top card is the 2H, which is apparently lost to center deck; the KS is second from top. ) Your right hand, from above, picks up the tabled face-up ace packet and sets it onto the deck, held sidejogged to the right with your left thumb. As you say, "Now, let's get to the aces," your right hand flips that ace packet face down and flush on top of the deck. Without hesitation, your right hand moves the block above the break to the right as your left thumb peels (actually holds stationary) the top card of the block onto the deck. Immediately flip that card face up using the right-hand block. Peel off the (now) top card of the block and flip it face up the same way. You're displaying two black aces on top of the deck proper. Drop the two face-down right-hand cards onto the table, spreading them. (From top down, these two cards are - a red ace, the 2H.) As you talk about leaving the black aces face up in the deck do the standard fast display, sandwiching the top face-down card (KS) between them. I.e., spread three cards, square getting a momentary break under all three. Move the 3-card block to your right with your right hand as your left thumb peels the top face-up ace onto the deck. Place the remaining righthand card (two cards as one) on top of the 1st black ace. Complete cut the deck then table it face down. Scoop the top card of the two face-down tabled cards under the remaining card and flip them both (basically squared - to "shade" the 2H) face up into your left hand. A red ace is seen. Hold the face-up double card at its inner right corner with your right fingers. Ask spectator #1 to release his hold on his signed KS and scoop it (it is really a red ace) up with the right-hand double card so that it's out jogged an inch or so on the two face-up cards.

Conclude your remark - "...but we'll get to them in a moment." As you talk, your right thumbtip openly lifts the top face-up block â&#x20AC;&#x201D; it just goes to the natural break â&#x20AC;&#x201D; and allows the two lowermost cards to riffle off; i.e., red ace and KS. (Fig. 1.) Look at the top inner area as you do this. It's a perfectly naturallooking action, as if you are looking to separate the aces from the rest of the deck. Place the remaining squared block - spectators think it consists of four aces, it really consists of three - face up onto the table. (You can, if you like, get a break under the 2nd peeled ace during the peel/display; then you can remove the top 3-ace block instantly.) All looks natural because the face-up KS still shows on top of the deck, as it should.There is, however, an ace hidden beneath it.

Place this package, as is, into your palmup left hand. As you say that you want to surround the KS with the two red aces - "just like bookends," do the following: Slide the visible (upper) red ace inward with your right second finger as, at the same time, your left forefinger pushes the face-down card down and flush with the bottom face-up card. (Fig. 2.) It's an "in reverse" Annemann Alignment Move. "Clear"

.1305-

the right-hand red ace and place it onto the two left-hand cards keeping a break under it. "These red aces have a strange influence over the black aces..." As you talk, in appearance, you simply table the three cards in a forward (vertical) spread. Actually, execute the following very pretty "move" (which is a laydown reversal similar to assorted Mario cleanup actions used in, among other things, various "Think Ace" routines). Arching your right hand above the packet, grasp the top face-up (separated) red ace. Move both hands toward the table, the right hand (holding the ace) somewhat faster than the left hand. At the same time, "dig" your left thumb under the other two (faceto-face lower) cards and push up, flipping them over. (Fig. 3 is a stop-action view at the instant of that flipover.)

Simultaneously, push the face-down card your left thumb is already on it, as in Figure 3 - forward with that thumb in order to create a vertical spread of the three cards. (Fig. 4.) There is no pause here; deposit the three cards, as is, onto the table. This is a pretty, and imperceptible, move. It need not be rushed. A face-down card is seen between the red aces; it is what your spectators expect to see — the face-down card is presumably the KS. The larger movement of hands to table completely covers the smaller movement of the 2-card flipover.

JONATHAN TOWNSEND

Continue your last remark, "...if the red aces have a card between them so will the black ones!" As a period (or exclamation point) to the remark, ribbon spread the face-down deck from right to left. Two face-up black aces with a face-down card between them are seen at center of the ribbon spread. Look at spectator #1 - "And, if the card between these red aces is your card (turn to spectator # 2 ) , the card between the black aces is..." Let spectator #2 complete your sentence by saying - "My card."

Carefully and openly slide the black-ace sandwich out of the spread and table it forward of the deck as you ask spectator #2 to repeat the name of his card ("the two of hearts"). Ask spectator #1 to remind everyone of the name of his card ("king of spades"). Build it up - "Now here's where the real magic comes in!" Do your magical gesture and slowly turn over the blackace sandwich side for side, then turn over the red-ace sandwich end for end - to display the impossible transposition. Afterthoughts: Obviously, my explanation reads longer than the effect is. Fill in your own presentation, personality, showmanship, and buildup, of course.

REVOLVING HAN PING CHIEN

It's amazing how many different ways the Han Ping Chien concept can be applied. This one combines the Han Ping Chien with Slydini's Revolve Vanish — and, it is an excellent idea. Jonathan uses it within a coin-through-table routine. It can be used one time - or two or three times. I'll teach the basic move, then you can apply it as you like.

of course. As you make your remark, your right hand retrieves the lapped coin. "Let's try it with another coin." Your left hand picks up one of the tabled coins, displays it for a beat then closes around it and turns fingers down, or partially fingers down. At the same time (or slightly before) your right hand is coming into view with the "penetrated" coin on its palm. It stops at "Revolve-Vanish" position. That is, the left side of the hand rests at the table's edge. (Left and right hands really work together. Your right hand should be bringing its coin into view as you say, "One coin has penetrated." Your left hand picks up its coin as you continue the remark.)

The concept is a simple one, but I think I was a bit tired when Jonathan explained it to me. I had to go over it five or six times before all the actions meshed, the concept cleared, and it worked smoothly. The move itself is not at all difficult to do, but it's based on timing, of course, as is any Han Ping Chien application — and that is not easy to teach in print. A few things do happen at once; I'll do the best I can. Assume you've just lapped the first coin for a coin-through-table routine. So the situation is: There are three coins in your left hand, but your spectators believe that there are four coins there; one coin is in your lap.

Your left fist is going to have to release its coin for the Han Ping Chien. Jonathan lets it fall out of the little-finger opening of his fist. I prefer to bring it to "heel clip" position, and release from there. Use whichever is better for you. (Fig. 1 is an exposed performer's view; left-hand coin is in heel clip and right hand is in Revolve-Vanish position - just before the "move" happens.)

Your left hand drops (slaps down onto the table and/or displays) three coins nearer the outer left area of your working surface. "One coin has penetrated." Your left hand is empty,

All going to left-hand made its

•1306-

right; your attitude is that you are do the magical "penetration" with the coin. The right-hand coin has already magical trip, so you casually, paying

scant attention to it, push it aside to outer right area of your working surface. That's all it should look like. Turn your right hand palm down as the beginning of the sliding-the-penetrated-coin-out-of-the-way action. It's really lapped (Revolve Vanish).

Now - you can "get ahead" by repeating exactly. Your right hand apparently slides the penetrated coin forward/right to join the first penetrated coin, as your left hand picks up one of the two remaining ("non-penetrated") coins at outer left - and so on.

Your right hand does not pause at all; it continues (as if sliding its coin) moving toward outer right. The actions are really just about simultaneous - the left-hand coin is dropped to beneath the right hand as the right hand moves onto the tabletop immediately after (coming out of) the Revolve Vanish; this is the Han Ping Chien action. Your right hand keeps sliding the coin to outer right. It openly leaves the coin there! Let the hand be seen to be empty. Your attention is directed to your left hand, of course.

Afterthoughts: As I said, your "attitude" is important; work on it - the casual action of moving the penetrated coin out of the way. This is as fine an application of the Han Ping Chien as I've seen.

That's it! If you've done the move properly, your spectators must believe that there is a coin in your left hand. You're way ahead, of course. Your left hand is already empty, and a coin is on your lap! Your obviously empty right hand goes under the table; your left hand "penetrates" its (non-existent) coin.

GARY OUELLET

ONE-CARD TRIUMPH REVELATION

It may appear to be kind of obvious to you at first, but I've tried it and it has gotten some good layman reaction. Have a card selected and remembered. When it's returned to the deck, control it to the top. The revelation: Say something like - "I'll turn over a third, another third, and mix them some more; but now there's only this one faceup card - all the others face one way!"

up face up on top; all the other cards are face down. (You can "flush" the injogged card as the batch flips over.) Toss the selected card face up onto the table and smartly table ribbon spread the facedown deck as you finish the patter line.

The actions to match: The deck is in lefthand dealing position. As your right hand approaches the deck's inner right corner the left thumb injogs the top (selected) card. At about the same time, your right fingers grasp the top (approximate) third of the deck at the deck's inner right corner (Fig. 1 - the injog is exaggerated) and flip that portion face up, turning right to left, like the page of a book. The selected card remains injogged. As you say, "another third," do the same thing - except that this time flip over about two-thirds of the deck; that is, turn over the face-up third plus another third - two-thirds altogether. (Fig. 2 shows this cut starting the injog is still exaggerated.) The face-down selected card is still injogged - about a third of the way down. (Fig. 3.) As you say, "...and mix them some more," flip over up to and including the injogged card. That card - the injogged, selected card - ends

Afterthoughts: Do the three "flip-overs" fairly rapidly - and in beat. It's an interesting revelation of a selected card. (Yes; if you injogged the four aces and did exactly the same thing - the aces would end up face up on top of the face-down deck.)

Ellipses (...) usually take space in this issue to clear up a few details. Like...in the issue I ran Vis-Change. I've since learned that the basic move is in Ed Mario's where it's used to cause a sandwiched card to disappear. In that same issue, I ran But Knot For Me. Seems that, again, Ed Mario published that method in New Phoenix, ruary, 1962. (Two minds, etc.) Ed used it within a Slydini silk routine.

â&#x20AC;˘1307-

August, 1986 Magazine #1, Karl Norman's back in Feb-

In the Ellipses!...) of the September, 1986 Apocalypse, I mentioned Randy Wakeman's book, Formula One Close-Up, said it contained excellent magic - but also wrote, in part, "...if you placed 'Latest K.M. Move' alongside my Illogical Double Lift (QUANTUM LEAPS), you'd find it a chore to tell 'em apart." Well, I was wrong - they are different. Randy has sent me an updated version of a spectator-cuts-the-aces routine. (I did a slight "put down" of the one in his book although it's a good routine, and all the other stuff in the book is excellent. I've since seen him do all the effects, so I can state that emphatically. Pick up a copy.) The version he sent me is a gem... it'11 run in Apocalypse as soon as I can squaeze it in. Yes, I know - Robert Klein (the comic) mentioned my name on all the major talk shows, and uses my name during his HBO TV special. Thanks for writing to tell me about it. In the March, 1986 issue of Apocalypse, I ran Paul Cummins' excellent routine, Overtwist Minor. One of my suggestions for controlling the force card (instead of the suggested sidesteal) is to use a double cut. I must have been drunk, because - in the paragraph just above, I'd explained about placing the four queens on top and that the viewers must realize that they remain on top. The double-cut control would appear to lose the queens - which is why Paul uses a sidesteal. Another control that would fit is a "Bluff" shift/pass to beneath the four queens. Heard the IBM convention (in California, last summer) was very good. But, also heard some stories about registered people being turned away there was no room for them! Hundreds of people, many from far away, and stranded. Seems the IBM let a travel agency handle it all, and they say the agency caused the problem. Anyway, that's how I heard the story - not good. The Classic Magic Of Larry Jennings is a "must get. " 3 of the (many) items are in Apocalypse.. . the peek's in BEST OF FRIENDS, #1. . no idea where "VernonlKrenzel Mechanical Reverse" comes from - it's Ken's from my book (never mentioned].. .top-card cover pass is filler - nowhere as good as the description I method in BOF, I...the writing isn't very good (illustrations fine).. .but Larry's magic makes it a "must get."

I've received a few letters, calls, and personal comments from Apocalypse readers berating themselves, quite upset, because they purchased an item called "Stunning" from a magic dealer for $10.00 - and then realized that it had already appeared on the cover of the January, 1986 Apocalypse (for $4.00; less, if you're a subscriber), plus 7 or 8 other effects and routines by people like Jennings, Mario, Hartman. Not only that...I warned them about this in a special box on page 1209 of the May, 1986 issue. You gotta' read what I write, dammit! Saw 2 Ted Lesley (Berlin, W. Germany) items. They're good.Marked deck, with m/s "Marked." (Deck's been ripped off by some dealers in the U.S.A. I'm told one also copied the m/s and is selling it!) Martin Breese of London, England owns the rights. Credit-Card Card Trick is sold by Ted's company (The Magic Productions) in Berlin. A borrowed credit card is burned and found restored in a signed playing card - really. Comes complete. I don't have prices; you'd have to find addresses and write to above for information. "ING"

Here's the missing "ing'

for the last page (128k) of the November, miss it - you don 't need it.

1986 issue. If you

didn't

David Copperfield's next television special airs in March. David told me that the Alcatraz prison escape sequence - on the last segment of the show - makes use of some new magical principles. (No; I didn't, and wouldn't, ask him why he doesn't mention any of my magic books at the end of a show [when he mentions magic books]. Instead of writing and asking me why don't you write and ask him!? I don't really care..I sell books on memory training to the public, not books on magic.) Bumped

into writer Herb Sergeant.. he reminded me of a funny line he wrote about me in New York some years ago. He wrote: Harry Lorayne takes over GM - Recalls 390,000 cars.

Magazine

I love it. A magazine writer is making grandiose statements about no magazine giving unknowns a chance, that maybe if they were given a chance they'd become known (sound familiar?) and that he will magnanimously do it. Well, it's nice to read about it. I've been doing just that here in Apocalypse for over nine years, and writing about it...full editorial, etc. And he knows it. What makes it really funny is that the guy spouting this "innovative" concept is one of the unknowns I made known by running his items here. What the heck...keep copying me, guys you'll get it right sooner or later! Other than the facts that a couple of one act's illusions didn't work quite right, & that one close-up performer rudely interrupted (and "threw") another performer, looking for a lost prop, & that all the shows (& close up) were too long ("less is more") â&#x20AC;&#x201D; Tannens Jubilee ran with its usual smoothness. Air Jazz (three young jugglers) by far the outstanding act. Steve Duscheck still draws the largest crowds in the dealers' room....Al Cohen, Philadelphia Magic, Hank Lee - don't do too badly, either. . . -

is published every month All checks are to be made payable

by Harry Lorayne, at: 62 Jane St., New York, N. Y. 1001k. to Harry Lorayne, and mailed to him at that address.

Individual issues - $k.00 each . Overseas subscription - $k6.50 surface mail Subscription - $k0.00 per year (U.S.A. dollars only) - $5k.5O air mail All back issues - $k.00 each, plus pstg. $57.50 airmail to Australia, Japan, So. Africa, etc. Canada & Mexico - $k5-50 surface mail.

Lofayne's VOL. 10 NO. 2

$1.00

FEB., 1987

ISSUE NO. 110

Special All-Card Issue come up This

Teep'all

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toper o ro

Hippie Torrales The Leaning Tower of Pasteboards

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leave l ea

^ ve ve '^ tower of P leaning ^ l ww a n t

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As you talk, "kick" (swing) cut the deck two or three times. You'll find that you can do this with the thumbtip in place - particularly if the inner end of the deck "hits" the inside of your right thumb above the thumbtip's edge. (See Fig. 1.)

the more arched (and together) they are - the better the illusion will be.) So, to actually "do" the levitation: Hold the deck from above with your right hand as you get set for the impromptu repeat. Simply bend your left little finger to beneath the deck and straighten your left first, second and third fingers (as in Figure 5) and as you remove your right hand. The deck is positioned as before outer end lying parallel to, along, your left forefinger, etc. The inner end, however, rests on your bent little finger.

When ready to do the "balancing," reach under the deck, at its rear end, with the right thumb. Leave the thumbtip on your left palm, under the deck, at the area where your fingers meet your palm. The outer end of the deck should be lying along your left forefinger. Obviously, you'll have to experiment just a bit for the exact position; the position that is best for your hand. Then - remove your right hand. (See Fig. 2, which is an exposed view - looking at the deck sideways, from diagonal inner/right.) Your fingers should be close together as this is done. I have to leave it to you here; the angles (they're pretty good), just how much you want to turn your hand, and so on. Viewed properly, it sure does look as if the rear part of the deck is "levitating." Do stress that all your fingers are visible. Again, up to you whether you want to simply indicate that, or verbalize it. And, arching your hand raises the deck's inner end even more. (Fig. 3 is another view.) When you've made your point, say - "And, if I take away just one card..." This is the excuse for removing, getting rid of, the thumbtip. As you talk, take away the top card of the deck with your right hand. The right thumb (almost automatically) goes into the thumbtip. As you remove the top card (Fig. 4) it effectively shades the thumbtip. Drop the card onto the table, then move your right hand (thumbtip still on your right thumb) back to the deck. "...I can do it even better." (Taking away one card makes "the deck lighter," or it "changes its balance" - whatever patter you like, or no patter. ) You can "ditch" the thumbtip now, or continue with it. Again, I have to leave that to you. The simplest way is to put the one card into your pocket, leaving the thumbtip, too. What you have to be able to do here â&#x20AC;&#x201D; and it may be easy for you right away, or difficult at first -- is to bend in only your left little finger. Your first, second and third fingers are straight. It should look as in Fig. 5. The worst that can happen is that you'll have to keep at it for a short time - practice. You'll get it. (Note in the figure that' the straighter the first, second and third fingers are - and

It's surprising what a good illusion this is - the illusion of the inner end of the deck "levitating." Watch your angles, of course. The forefinger should be slightly higher than your second and third fingers - that covers the fact that your little finger isn't there! (Fig. 6; the view is from the right inner side â&#x20AC;&#x201D; from below.) And as you display this gravity-defying feat with your left hand, you have plenty of time to "ditch" the thumbtip with your right hand, if you haven't already ditched it. Here comes the touch that "makes" this. With your right hand, take the deck's top card. Turn it face up and slide it under the deck, at the deck's inner end. It actually slides between the deck and your bent little finger. As the card slides in, turn your body slightly to the right and straighten your left little finger. The slight turn to the right shades the straightening of that little finger. As you do straighten it - it's a fraction of a second turn back all the way to the left so that your spectators can see the levitated deck. The right fingers put a "buckle" in the single card to make it strong enough to hold up the deck at its inner end. All your fingers are seen. (See Fig. 7.) This is beautiful; move the card left/ right as you say, "As you can see, there are no wires, mirrors or strings attached!" Talking is important as you show the levitated deck with that single card. If you were silent, you would give your spectator too much thinking time. And you can (and should) move that single card left and right. Move it back and forth rapidly only twice or three times. It's that "rapidness" and the single card's buckle that enables that card to move left/right cleanly. In effect, you're just indicating the levitating deck. Now â&#x20AC;&#x201D; to clean up, reverse all actions, bending your little finger back to beneath the deck's inner end. (That is, turn your body, and your hands, back to your right as your little

-1310.

finger curls in. ) The point is a simple one you've got to cover the movement - the straightening and re-bending - of your left little finger.

This short spin can be made to look eerie. The deck's inner end will move to the right; as it does, "catch" the deck (clasp with your left thumb) and table it. Keep your hand there, in full view - you're clean! Afterthoughts: Well; that's the best I can do with this kind of thing. You'll have to play with it, of course. You may want to place the deck onto your left hand normally and display from all angles - just to let your spectators see how it should look - before you go into the "balancing" feat. (This would also subliminally set the idea of all your left fingers being in view.) This is important if you don't have your thumbtip with you and want to do just the impromptu version. Hippie also does a separate quickie with the cased deck. He causes it to spin completely around on his left palm â&#x20AC;&#x201D; by using the secret opening of the little finger, as explained - and continuing the spin by bending in just his forefinger! It really can't be explained; you'll simply have to try it. Do be sure to try the "main" levitation idea taught in the text.

Okay; display the "leaning" or "levitating" deck, then say, - "Watch!" - and cause the deck to slowly and eerily spin, counter-clockwise (the deck's inner end moves toward your fingertips) about a half turn, by slowly opening your left little finger. (Fig. 8 shows this happening.) This, too, may take a few tries. You may have to cut the fingernail of your left little finger, because the skin should contact the bottom card of the deck. And, tilting your hand (inward or outward) will help. Your other left fingers move upward to meet the deck as

Jon Racherbaumer

your little finger straightens.

Fuddle Aces

Ion's starting point for this routine is Justin Higham's Som-Ace-Sault (Apocalypse; December, 1984). Justin took his cues from David Britland's Jackrobats (Deckade), and Britland was inspired by Chesbro-West's Acrobatic Cards (Tricks You Can Count O n ) . Justin added a 6th card in order to display a 4-card spread during the second part of his routine. Jon felt that further use could be made of that 6th card. His follow-up sequence is "...excised from a Peter Duffie routine which, in this merger of ideas and moves, is probably not recognizable. In fact, the combination should provide enough confusion to muddle the minds of most magicians the audience I had in mind when concocting this antic routine."

onto the first 3 aces. Square the packet. 4) Flip the packet face down and do an Elmsley Count to display 4 backs. Immediately spread to show 4 cards - simply spread off the top 3; the last 3 are held as one. Because the block is at the bottom, no extra thicknesses show. Hold the 4(?)-card spread in your left hand as your palm-down right hand grasps the top 2 cards - thumb underneath, fingers on top. (Fig. 1.) In appearance now (and in actuality), you will insert the 2 left-hand face-down aces to between the 2 right-hand face-up aces.

Basic effect: A selected card is lost in the deck. The four aces are displayed and their acrobatic ability is shown when they're handled two by two. Finally, the face-down red aces are cut into the deck. The black aces instantly change to the red aces. The face-up black aces are found in the face-down deck with a facedown card between them. That face-down card is the selected card. To Perform: 1) The aces are on the table in a face-up packet - the reds on top of the blacks. Have a card selected (assume it's the KH) and control it to the top of the deck. 2) The deck is held in left-hand dealing position. Pick up the ace packet and place it face up onto the deck. Spread off the top six cards as you display the four face-up aces. 3) Close the spread, getting a break under the top 6 cards. Lift that 6-card block, from above, with your right hand as your left hand tables the deck proper. Say, "Notice that the aces are all facing the same way," as you reverse count them into your left hand by peeling off the first 3 aces, one at a time, with your left thumb. The last ace (3 cards) is dropped

5) Turn your right hand palm up and move the 2 cards so that the top black ace is stepped to the right in the 2-card face-up spread. This facilitates the insertion of the face-down left-hand cards (apparently 2 face-down aces) between the 2 right-hand cards. Insert them in outjogged condition. (Fig. 2.) Note that your

â&#x20AC;˘1311-

Left forefinger remains curled at the top end of its pair, covering the extra thickness of the block. Stress the fact that 2 aces are face down and 2 are face up.

wiches of the (now) face-down packet. (Fig. 3.) Square, "re-capturing" your break beneath the three top cards. 16) Do a triple turnover (to the break the only reason for the break) to show a red ace. (Do this without hesitation.) Lift off the top face-up red ace and snap it to prove its singleness. Since a back shows beneath it, all appears normal. Replace it, face up, to the top of the packet.

6) With your right hand, push the outjogged cards flush, and square the packet. 7) Do not do a through-the-fist flourish in order to secretly turn over the packet. The apparent situation is that 2 aces are face up and 2 are face down. If the packet is openly turned over, the situation is unchanged. Any thinking observer will understand this. Don't make a "move" at this point; simply and openly flip over the packet.

17) Immediately turn it face down, really doing a 5-card turnover. No problem; just buckle the bottom card and turn over the block above it. Again, a back comes into view, keeping everything looking normal.

8) Do a single-buckle spread (bottom-card buckle) - i.e., with your left thumb partially spread off the top card, the 2nd card - then buckle the bottom card so that a block can be spread off as the 3rd card. Snap the last card to prove its "singleness" (you can flash it, it is a black ace), then place it to the top. Now square the cards. This is quite magical looking. In appearance, 2 face-up cards have magically turned face down. The actions are economical and direct. (A block push-off serves the same purpose as the bottom-card buckle.)

18) Now, your right hand takes the 2 top cards as one. Easy; the top 2 cards are face to face - go to the natural break beneath the 2nd card. Place this card(s) onto the face-down, tabled, deck proper. Stress that you're placing a red ace face down onto the deck. (That's all it should look like.)

9) Re-spread the 4(?) cards - the last 3 are held as one. And - repeat the turnover of the top 2 aces exactly as in step 4 and 5. Except that, now, a red ace will be stepped to the right of the 2-card right-hand fan. Insert the 2 left-hand face-down cards to between the 2 right-hand face-up aces, just as in step 5. Do step 6; then do steps 7 and 8. 10) Spread again, to show 4 backs - that is, spread off the top 3 single cards; the last 3 are held as one card. Casually transfer the top 3 cards to beneath the remaining card(s). Square.

19) The top card of the tabled deck is now the KH (selected card). Your right fingertips slide out the bottom card of the left-hand packet and flip it face up onto the top. It's the other red ace. "I'll place the second red ace onto the first one." Apparently flip this 2nd red ace face down onto its packet - really do a triple turnover by buckling the bottom card. Again, a back comes into view; all looks as it should.

11) Flip the packet face up. Do a singlebuckle spread of the face-up cards as explained in step 8, snap the last card and place it on top. The order of the aces from face (top) down is now black, red, black, red. 12) Square, holding the face-up packet in your left hand. Get a break above the bottom face-down indifferent card (via a buckle or a "pinky" pull-down). Your right hand grasps the packet from above, your right thumbtip taking over the break or separation.

20) And again, your right hand lifts the top 2 cards as one (go to the natural break) and deposits it (as one card) onto the tabled deck. At this moment, your spectators believe that the 2 red aces are face down on top of the tabled deck and that you're holding the black aces in your left hand. In reality, your left hand holds the 2 red aces and on top of the tabled deck, from top down: Face-down indifferent card, face-up black ace, face-down KH, face-up black ace.

13) Your left thumb peels the top black ace onto your left palm. Peel the next (red) ace onto the first but - as you do - secretly load the bottom broken face-down indifferent card to between the first 2 aces. 14) Peel the next (black) ace, but keep a (fine) left little fingertip break beneath it. Finally, place the last (red) ace (really two cards) on top of all. Position check: After the peel/display just described, the order from top (face) down: Face-up red ace, face-down selection, face-up black ace, face-up red ace, facedown indifferent card, face-up black ace. And, you're holding a break between the two 3-card "sandwiches."

21) Instruct your spectator to give the tabled deck one complete cut to bury the 2 red aces. You're set for the surprise ending. Say, "The red aces are face down in the center of the face-down deck. I'm still holding the two black aces." 22) Snap (magical gesture) the 2 in-hand (apparently black) aces. Flip them face up to display the two red aces. Immediately ribbon spread the face-down deck to reveal the face-up black aces at center, with a face-down card between them. Let this register for a beat or two

15) Turn the packet face down to the right like the page of a book, maintaining the break. This creates a step between the 2 3-card sand-

â&#x20AC;˘1312-

and then - show that the sandwiched card is the selection (KH, this example). End! Afterthoughts: As usual, a routine such as this reads much more complicated than it really is. After 3 or 4 run-throughs, it will flow. Other cardmen will have trouble backtracking it. And, when I tried it out on some of my cardmen friends - there was some shock when I revealed the 2 black aces during the final ribbon spread. Their first reaction was to suspect duplicate black aces.

izing 2 selected cards. Control them both to the top. At the end, when you reveal the "sandwich" at center ribbon spread, the 2nd selection is the card immediately to the right of (directly above) the sandwich. You should have no trouble taking advantage of this situation. Reveal the 2nd selection in a "repeat" sandwich or in some other remarkable manner! It's there; utilize it. According to Jon - "The whole point of the exercise is to more fully exploit that sixth card. Perhaps it will further stimulate Apocalytes to go 'further than that'...?!

You can, if you like, do the routine util-

RON FROST

ALL WRONG! to talking fast, and excitedly, as he reaches the end of this patter - as if he can't wait to start the cutting.

It's often the seemingly obvious, simple thing that elicits the strong audience reaction and response. Ron performed this effect for close-up groups at a small convention; the members of all three audiences were "taken in." And - a full-deck set-up is required. Ron told me that he usually does a deck switch; when I saw him do it he didn't bother, he simply took the cased deck out of his pocket. The effect still fooled all.

All right; cut the deck into four packets, a king at the bottom of each, as fast as you can. Easy, of course. There's a king already at bottom, and a king at bottom of each run - 13th, 26th, 39th from top. Riffle to them with your right thumbtip just as you did to locate a 7spot.

Start with a new-deck set-up - each suit ace to king, ace on top. Assume you've set the "runs" in CHSD order (it really doesn't matter). The AC is the top card and the KD is the bottom card. Ribbon spread the deck face up and move each 7-spot into an off-color run. It doesn't matter which goes where, as long as each one is "out of sync." Example simply exchange the positions of the 7C and 7H, and switch the positions of the 7S and 7D. Each seven is in correct numerical sequence (between a six and an eight) but in the wrong run. That's all.

What I like to do as I talk is to riffle and spot the center (26th-f rom-top) king and hold a left little fingertip break beneath it. This makes the cutting faster, because - I riffle to center of the cards above the break, the top half, and stop at the king that's 13th from top. (Fig. 2 is your view, exaggerated, of this fleeting instant.) Cut the top thirteen cards to the table. No hesitation now - just cut the next packet to the break. Riffle near center of the remaining half deck to the center king and cut that packet to the table. Finally, take the remaining packet with your right hand and drop that to the table completing the left-to-right row of four packets. It can be done quickly, as you'll see when you try it.

If you can switch in this deck, and if you can do a few false cuts (and/or false shuffles, if you like), you're all set. Ron uses his own false-cut sequence. To Perform: You've either switched in the deck, or simply brought it "into play." Take it out of its case, if it was in a case in the 1st place. Do a few false cuts. As I told you, Ron does his own sequence of cuts; he doesn't make a big deal out of it â&#x20AC;&#x201D; the spectators simply assume the cards are mixed. The next step is to force a 7-spot, any 7spot. Ron simply riffles up at the inner end to spot one, gets his break beneath, or above, it - and forces it. It's easy enough to spot a 7-spot because you know about where they are. (There's one at 20th and one at 33rd from top. Fig. 1 is your view as you find a seven. ) Ron Classic Forces it; use any force you like. If it's removed from the deck, as in the Classic Force, be sure to have it replaced to original position. Square the deck. Another few false cuts, etc., is optional here. The patter, the buildup, is - "I'm going to cut this deck into four packets. What I'll try to do is to get a card that matches the value of your card to the bottom of each. In other words, if your card is a...ten, I'll cut a ten to the bottom of each packet. If your card is a three, I'll cut a three to the bottom of each packet. But, don't tell me your card." Ron gets

"Okay, okay; I think I've done it...look!" Rapidly turn the four squared packets face up, keeping them in a row, to expose the four kings. That, in itself, is a fooler. "Your card was a king," you state emphatically. That, of course, is denied. Act crestfallen. "What is your card? A seven? Oh; these are all wrong. Some more magic is called for." Do a magical gesture over the packets. Then ribbon spread each one (downward) to expose the "double miracle." Each spread is the ace to king of one suit - except for the sevens (selected value); they're obviously "out of sync" in each spread! Point out the two miracles - and end. Afterthoughts: Ron ends as described. I, personally, like to turn the packets face down again, then do the magical gesture as if I am going to change the face kings to sevens. Then

â&#x20AC;˘1313-

I turn them face up again - they're still kings, still all wrong. Another gesture, then ribbon spread each packet, etc. If you're working for a larger group, you may want to pick up each packet and hand to hand spread the cards faces to audience. Ron,

incidentally,

JIM PATTON

not the kings. No problem; simply set the cards from king to ace instead of ace to king. And, I explained it using sevens; that's because I saw Ron do it that way. Sixes or eights - or any cards - work as well. Whichever way you go, this can be a talkedabout effect!

cuts to the four aces,

A-FOLDABLE

Jim does a very strong routine using an antique silver matchbook holder. A signed selection appears inside, folded in quarters. I had never seen one of these matchbook holders before; they're not readily available. For that reason, I'm not going to teach his complete effect; I don't want nasty letters from all those who can't find one of the holders! But - Jim has his own method of folding the signed card into quarters. It's excellent (although it may be difficult to teach in print), and should be recorded. Jim likes all card fold methods, but uses his own - this one. It's designed to be done under closest scrutiny, and he fools other magicians with it. (Done well, no misdirection is needed.)

Openly and deliberately cut the deck; that is, move the top half deck to beneath the bottom half, openly bringing the "stopped-at" card to the bottom. Now, you're going to turn the deck face up in order to show that bottom card, but you have to cover the center crease across its width. So, grasp the deck's inner end with your right hand, thumbtip underneath and fingers on top. (Fig. 2.) Move that inner end up then away from you - your right hand is moving to palm-up position. At the same time, your left hand turns palm toward you so that your left thumb can grasp the deck across its center which automatically covers the crease. (Fig. 3 is a stop-action performer's view just as your left hand is about to grasp the deck.)

What makes it so instant a fold is that the card is folded (and creased, then opened) in half before the effect begins. This idea has been used before, but Jim's handling is entirely different. So, fold the card you intend to force in half across its width. Open it, and fold it the other way along the center crease. This makes it much easier to fold at the crucial moment during performance. Open the card. It has to be secretly loaded to the bottom of the deck when you're ready to do your (folded) card to small purse, matchbox - whatever.

Your left hand grasps the deck as it turns all the way palm up to display the card - and to have it signed at its outer, clear end. (See Fig. 4.) Then, grasp the outer end with your right hand and turn the deck face down by moving that outer end toward you and down. (This brings you, momentarily, back to Figure-2 position. )

Okay then; let's assume you've loaded the pre-creased (matching) card to the bottom of the deck. Cut the deck and hold a left little fingertip break between the halves. Now riffle force to the break. (Riffle down at the outer left corner with your left thumb as you ask the spectator to stop you. When he does, your right hand lifts all cards above the break.) Do not show the bottom card of the right-hand (top) half deck yet. Instead, indicate it with your left second finger as you say, "You stopped me at this card." (Fig. 1.)

You're ready to fold the bottom (selected and signed) card into quarters. Pull down the inner end of that card with your left little fingertip ("pinky" pull down). If your little finger is more toward the card's inner end than at its side, it makes the next step easier. At least it does for me. (Fig. 5.) You'll see what is best for you when you try it. As that inner end moves down and your left hand pushes slightly upward at its end, the card will automatically slide toward you, to the deck's inner end as it folds in half. The folded center of the card is toward you - it butts against the fleshy pad of your right thumbtip. (Fig. 6 is a stopaction exposed side view.) Push down at center of the folded card's inner end with your right thumbtip (which is right there, at position) to form a downward bend in that end. (Fig. 7; after the thumb's "push down" - that thumb has been moved out of the way so that you can see what's happened.) Now you want

.1311.

to fold

the

folded-in-half

card into quarters. Jim does it during a "kick" (swing) cut! You could "burn" his hands as he does it - and you would see nothing. Your right forefinger starts the cut by "kicking" the top half deck to the left. As that top half moves, your left fingers curl in, folding the hidden card into quarters. (Fig. 8. I've attempted a stop-action exposed front view here.) Your left fingers straighten - then your right hand moves the bottom half deck to the right. (See Fig. 9 which is your view, stop action. Note that the left fingers are visible where they should be visible. If the right hand moves its half prematurely, those left fingers will seem to have disappeared! The folded-in-quarters card is, of course, completely hidden between the left-hand half deck and the left palm.)

Afterthoughts: As mentioned, Jim uses this to produce the signed folded selection from the pretty antique matchbook holder. It hangs on a chain attached to his vest, and it appears as if he never goes anywhere near it. He has both a sit-down and a stand-up version. As I told you, I'm not teaching that, but you sure can use his folding-into-quarters method for other "production" routines.

Drop the right-hand half onto the left-hand half - and the move is done. The folded card is hidden beneath the deck — pressed up against the deck with your left palm — as your right hand moves away. Try it, work with it; it's an excellent method for instantly folding the card.

That's it. Steal the folded card into your left or right hand, according to the "loading" procedure you have in mind. You can simply remove the deck with your right hand leaving the folded card in left-hand finger palm. Or, you can use a side-steal action to push the folded card into right-hand finger palm.

JOHN W. McCLURE

"GENERALLY SPEAKING

|ohn came up with the concept of doing a vertical Elmsley Count; that is, holding the faces of the cards directly toward the audience as you count. You can practice by holding the cards faces to a mirror. He also counts 4 cards as 3. Using the two ideas together enables him to present a "general card" effect quite convincingly. It's a routine that should be done for a group - you don't want spectators to see each others' cards. I'll teach John's Elmsley Count variation (he calls it the Mirror Count) at the proper time.

the Elmsley Count, fanning the cards as you do; you'll be showing him three cards. This count is done quite a few times during the routine, so I'll teach it carefully now. Your left thumb peels off the rear card (4C). Do the next step of an Elmsley Count (your right thumbtip block pushes off two cards - this double card is taken with your left hand as the 4C goes back to beneath the single right-hand card). Your left thumb takes the third card onto the left-hand's double card - in stepped-to-the-right condition. The last card goes onto the left-hand cards, also stepped to the right. You see three backs, but your spectator sees the AH, 2H, 4C - the AH is closest to him; the 4C is closest to you.

To Perform: Three spectators - one at your left, one at center, one at your right - each select and remember a card. The cards are returned to the deck, the deck is shuffled apparently losing the cards. You really control them (to top or bottom), of course. Let's assume the selected cards are, from left to right, the AH, 2H, 3H. Place the deck behind your back, and say that you usually can find the cards by feel. Bring out the three selected cards plus one indifferent card - say, the 4C. The order, from top down: 4C, 3H, AH, 2H. You can control the selections in that order, or set them that way behind your back. Up to you. Table the facedown deck proper.

It's a bit strange; he sees the 4C twice during the count, but it doesn't matter — it looks quite legitimate, as if you're stressing that card. He does not see his card - the 3H of course. Try this in front of a mirror. It's good, and once you're familiar with it, I can teach the routine much faster. (Fig. 1 is spectator #3's view after the first count/display.)

John's Mirror Count is used to show three cards to each spectator, one at a time. It also, in this routine, always "sets" you for the next step. Now, when I do the Elmsley, I "take" with my left hand from my right. That's how I will teach the routine; if you do it the other way, you'll have to change my instructions to fit.

He says he doesn't see his card; square the three(?) cards and move to spectator #2 (at center). Repeat exactly. He'll see the 3H, AH, 4C (face to rear); he doesn't see his card, the

Face spectator #3 and ask him to see if his card is among the three you are holding. Raise the packet face directly toward him. Do

•1315-

2H. Square, and move to spectator #1. Repeat the count/display. He sees the 2H, 3H, 4C - no AH. Do not square. Act puzzled over the fact that not even one of the spectators has seen his card. As you say to spectator #1, "Are you sure this isn't your card?" stress and show the 2H - only to him (you don't want spectator #2 to see i t ) . Do it like this:

Count. And, he'll see his card - it's also been magically reversed, facing him! You see the 4C, 3H, 2H. The 2H is a double card; the toward-him AH (other side of double) is at your left of the small fan. (You might prefer to have him name his card before doing the count.)

V Grasp the double card at its outer left corner, just as you did before, and turn it over end for end, also as before. Do this, ostensibly to get a better look at his card. Use the two right-hand cards to shade the left-hand card so that spectator #2 can't see it. (Look at Fig. 4.) You might say, "The ace of hearts is your card." Square - and you've automatically reversed the 2H to position! Move to spectator #2 (center). Grasp the small fan with your right hand as your left fingers grasp the 2H (double card at left end of fan) at its outer left corner. Turn it over toward you, end for end — it now faces you; place it onto the two back-to-you cards. (Fig. 2 - your view, stop action.) Now square, and push offthe 2H (remember; it is directly facing y o u ) , take it with the right hand and turn it toward the spectator as you make your remark. (Fig. 3.) Replace it face outward onto the face-to-you AH. What you've accomplished is to secretly reverse the AH to 3rd-fromface position. Check: From rear to spectator, the cards are — 2H, reversed AH, 4C, 3H. He says that it is not his card. As you say, "Please look again," do the Mirror Count once more. He sees the 4C, 3H, 2H (4C at face) you see two backs and the AH. Square the fan. "Well; I'll have to use some magic." Turn over the packet, end for end, so that a back faces him, the 4C faces you. Do a Mirror Count; you're showing him three backs you see the 4C, 2H, a back. Square, and say, "Please concentrate on your card." Do your magical twist. Then, do another back-to-him Mirror

Doug Edwards

Repeat exactly as for spectator #1. I.e., Mirror Count to show spectator #2 three backs. He concentrates, you do your magical twist (or gesture) and Mirror Count again. His card (2H) shows face up at your left of the fan. Show and stress it as you did for #1 (in Figure 4) which "sets" the 3H. Square, move to spectator #3 and repeat - Mirror Count to show him three backs etc., etc. Mirror Count again - his card (3H) appears face to him at your left of the fan. The deck proper is face down on the table. Grasp the double card at your left of fan - indifferent card (4C) facing you - just as you've been doing but, this time, turn it end for end onto the deck. The 4C coalesces. Ribbon spread; the face-up 3H is on top, at the right of the spread. Place the 2H and the AH face up onto the 3H - to end. You're clean! Afterthoughts: Each selected card not only appears, but it appears face up! It certainly is something to play with. It's an excellent variation on the "general card" theme just as it is. There are ways to eliminate one or two Mirror Counts, but I prefer it exactly as John presents it.

Flourish Control

|he flourish is not Doug's; it's been around - I don't know who devised it. The idea of using the flourish as a casual control of a selected card is Doug's. It's good. I've added my own "two cents," with which I have fooled some knowledgeable cardmen. Both variations are foolers. First, Doug's original handling. The selected card is replaced preferably below center, about a third of the way from the bottom. That's not crucial, but it does make the flourish look a bit prettier. Hold a left little fingertip break above the selected card. Your right hand rests on the deck; thumbtip at inner end, second fingertip at right side of the outer end, forefinger is curled on top. Now a quick triple-cut flourish brings the selected

card to the top. Your right second finger lifts upward the top third (half the cards above your break) as your right thumb lifts upward all the cards above the break. Your left f oref ingertip, also resting at the outer end, holds the outer end of the center section (center third) in place. That center section is actually held only between your left forefingertip and right thumbtip. If you've followed me correctly you have formed a " Z " shape. (Fig. 1; side view.) In performance it is one fairly rapid and fluid - continual - action from start to finish. I'm breaking it into steps for you. Keep moving your right hand upward and slightly forward —

•13161

away from you. This automatically causes your right thumbtip to raise the center section's inner end. That inner end is raised until it can be "caught" between your right thumbtip and your right third fingertip. It is just about automatic. (Fig. 2 is an exposed, stop-action, side view.) Continue moving your right hand away from you - the center section's outer end starts to revolve around your left forefinger. (Fig. 3; another stop-action view.) Your right hand is now moving downward, automatically moving the (now) outer end of the center (face-up) section downward. It (your right hand) also starts to turn partially palm up. As the right hand moves, open your left second, third and fourth fingers so that they can close down onto the face-up center section. (See Fig. 4.)

Get your break and start the flourish exactly as I taught it. When the center section revolves around your left forefinger and your left second, third and fourth fingers are closed down onto it, glance down and you'll see the face of the bottom card of the right-hand section. (Look at Figure 4 again; the bottom card of the right-hand section is the 3D — that's your key card.) It will be your key card if you change the end of the flourish slightly. (See the Afterthoughts.) Instead of the right-hand section going to beneath the two left-hand sections, as in Figure 5, bring that right-hand section to the top. Your key is now directly on the selected card. The two vital cards are about a third from the top of the deck; two-thirds from face. I immediately do a center Hindu Shuffle of the face-down deck. That is, I pull out a small batch of cards from the top third (Fig. 6) and Hindu Shuffle those cards onto the top. Flip the top card face up then face down again, as you say, "Your card shouldn't be on top." Flip the deck face up and, as you say, "Nor should it be near the bottom," do another center Hindu Shuffle. Pull a larger batch (you've more leeway) from the upper two-thirds and Hindu Shufonto the top (face) of the deck. Flip the deck face down and do one or three rapid complete cuts.

Close those fingers, bringing the center section all the way to face-down position as your right hand turns palm down, turning it)s one section all the way face down to beneath the original center section - to the bottom of the deck. (Fig. 5.) That's it; square the cards, and the selected card is on top. You can immediately go into a shuffle, keeping the vital card on top, or don't shuffle at all. ( I do my own Status Quo Shuffle, out of RIM SHOTS, here. It still fools most every magician for whom I do it.) The card is under your control. The entire flourish takes about a second — once it starts "flowing." *** My "Two Cents": My variation is obvious but, as I told you, I've fooled knowledgeable cardmen with it. It does have to be done casually, and it's the handling after the flourish that's important. Changing one step - the last step - of the flourish gives me an almost builtin key card!

The deck has been thoroughly shuffled so far as your spectators are concerned, and the selected card hopelessly lost. The deck really has been shuffled, but your key card is sticking to the selected card like a burr. It is still directly on top of it. Go into your location miracle. Afterthoughts: The flourish itself is impressive, It looks good, when it's done well. "Well" meaning smoothly and fairly rapidly. As I said at the start, both the control and the key card idea are foolers. You can use the key card idea without changing the flourish at all. Catch the glimpse of the bottom card of that right-hand section as taught. And, complete the flourish as for Doug's control - that is, the right-hand section goes to beneath the lefthand sections; the selected card is on top of the deck. Then, just give the deck one complete cut. That's it — your key is on the selected card. Continue as explained. It's okay; but it simply isn't quite as esoteric as my original method.

'1317*°**

MARK SI CHER

A "CLEAN" TRICK

No illustrations needed; it's a "something in something" kind of effect, like "a coin in breakfast roll," "card in shoe," "bill in lemon," etc. (Dennis Cook worked it out with Mark.) I can see where it can be an entertaining item ("I want to do a trick for you - the cleanest trick I know") as well as a fooler. To prepare, you will need a bar of Ivory soap (or its equivalent in countries other than the United States), a knife, some rubber cement and a playing card that matches the deck you'll be using. Unwrap the soap bar - carefully; you want to keep the paper wrapping intact so that it can be replaced. Stand the bar on a long side and carve a slit (or slot) at center of the upper long side. Keep the soap shavings, and carve enough of a slot to "take" a card that's folded into quarters. (See Fig. Oh, well - just a simple illustration!) That slit (or slot) has to be deep enough so that no part of the folded card will protrude, of course.

There are, obviously, two ways to present the effect. One is to force a duplicate of the "barred" card. It cannot be signed. Unwrap the bar. It can be handled casually â&#x20AC;&#x201D; tossed and caught, etc. If you're strong, break it in half with only your hands; if not, use the edge of a table. It should be broken cleanly, the folded card protruding from one half (as when you cut a lemon and the rolled-up bill protrudes). Let a spectator remove and unfold the card. (You might want to palm out or lap the duplicate.) The other way is to allow a free choice of a card. It is signed and apparently lost in the deck. You really control it to top or bottom. You can palm it off and hand the deck to your spectator. Ask him to find his card; this gives you more than enough time to fold the stolen card into quarters. (Or, check Jim Patton's AFoldable, this issue. See if you can make it work for this.)

Okay; insert the folded-into-quarters card into the slot. (The card is folded face out or back out according to what your presentation calls for.) Refill the slot with the soap shavings. Smooth them down with a moistened fingertip; finish the job with the knife. Obviously, you want it to look as untouched as possible.

Break the soap bar, take out the folded (face inward for this, of course) card - or let the spectator do it and switch it for the folded, signed card. Afterthoughts: It's one of those easy-toprepare, easy-to-do items that may just be remembered by your audiences. You can, after your attempt to find the selected card, use a line like, "I wash my hands of this trick," as you reach for the bar of soap. Presentation, entertainment, specific handling, attitude - all up to you.

No matter what, that part of the bar will be a bit darker in shade than the rest of the bar. The only suggestion I can make is that you try using Wite-Out (typing correction fluid) on that narrow area. It's really not that crucial;

6ILLES COUTURE

no one will be allowed to look at the bar of soap that closely. Then - re-wrap the bar carefully; rubber cement (or glue) the paper wrapping back to pristine position/condition.

CARD TO TOP onto the lower (larger) portion of the deck. If you have followed the instructions, your right forefingertip should, automatically, be near or touching the inner right corner of that larger face-down portion.

It may be true that the world doesn't need another card control, but I do believe this one should be recorded. It certainly is an interesting control (bringing a selected card to the top), and it's also confusing. The entire thing is done during one sentence, like - "Your card is lost somewhere in the deck." I'll teach it just as Gilles does it - then, a couple of my inevitable handling variations.

"Dig in" with that forefingertip at about center of the face-down portion. In other words, cut deeper than the face-up portion. And turn over all (the face-up injogged batch and the face-down batch), turning right to left, and again - like the page of a book. As the turn is completing, move your right hand forward a bit so that the original face-up batch - now turning face down - flushes with the face-down lefthand cards. The (now) face-up portion will be outjogged - automatically.

Have a card selected, remembered and replaced. Manage to have it replaced about a quarter of the way from the top of the deck that is, nearer top than bottom. Keep a left little fingertip break above it. Now, start the patter line - and do the control: Close your left fingertips down onto the deck at the deck's right long side as you remove your little fingertip. This will automatically step to the left the batch of cards above the break. (Fig. 1.) There are no perceptible pauses throughout. As soon as your left hand does the "stepping," your right thumbtip and first and second fingertips grasp the stepped (top) portion at its inner left corner (area X in Figure 1) - thumbtip underneath, first and second fingertips on top. And turn that batch face up, turning left to right like the page of a book - injogging it

â&#x20AC;˘1318-

Economy of motion now â&#x20AC;&#x201D; your right hand doesn't have to change position. Just open your second finger, reaching to the outer end of the outjogged face-up portion. (Fig. 2.) And turn it face down onto the deck - turning toward you end for end. You'll see that you'll be grasping that outer end between your second and first fingers - again, automatically. That's it; the selected card is on top! You have to try this to see how smooth it is.

often now. Do exactly as originally taught. But when you're about to do the final action - that of turning the face-up outjogged portion face down end for end - (as depicted in Figure 2) , your right second fingertip moves a bit farther forward and curls in to contact the bottom card of the deck. Contact is made at the outer end. As you turn the face-up outjogged portion face down as taught â&#x20AC;&#x201D; take along the bottom card. (Fig. 3 shows this starting.) You'll be turning that card face up onto the top of the deck, onto the selected card.

A couple of my thoughts: First of all, I think it's better (in many cases, according to the effect you're doing, or the impression you want to leave) to control the selected card to second from top. In that way, you can casually flip the top card face up to show that his card is really lost. Show the bottom card, too, of course. Go from there. Anyway, it's easy enough. Just get your break above the card above the selected card. And, the control works just fine from a spectator peek, since all you really need is a left little finger flesh break, and that's what you have after the spectator peek. Be sure, however, to let the selected card riffle off your first (or second) fingertip before doing the control. That brings the card to the top. Let two cards riffle off your first or second fingertip, after the peek, and the control brings the card to second from top. One

final

thought

- and

I use this quite

Simply flip it face down on top. No need to say anything - your spectator sees that his card isn't on top. Afterthoughts: It's a simple thing; do it in one continual motion and it's confusing to the onlooker. Stops or hesitations may make it obvious. Play with it.

ULTRA SURPRISE

DOUG EDWARDS

This is for Apocalytes who know, and can do, my Ultra Move. (This was originally taught in AFTERTHOUGHTS; it is also taught in BEST OF FRIENDS, VOLUME I.) I don't think it'd be proper to re-teach it here. If you don't know it, look it up, or use a second deal or top change instead. On the other hand, this won't take up much space; no illustrations are needed.

Take it with your right hand (a back shows on top of the deck, as it should) and slide it, face up, under the tabled 4S(?). Rub the two tabled cards - snap your fingers - or whathave-you - then turn over the face-down card. Not only has the 4S changed to another card, but it has managed to change to match the red queen! (First and second climaxes.)

The simple set-up is to secretly get any two mates (assume the red queens) on top of the deck - with any face-up card between them.

Cut the deck, doing any form of slip cut. It appears as if the face-up 4S has magically appeared at center deck. I, personally, like to use my "invisible pass" move, out of QUANTUM LEAPS, page 116. (Third climax.)

To Perform: Have a card freely selected, be careful not to flash the second-from-top face-up card, of course. After the card has been looked at and remembered, openly place it face down onto the top of the deck. Show it again - "Please remember your card - the (say) four of spades" - doing The Ultra Move. This secretly brings the 4S to second from top. Deal the top, single, card - apparently the 4S, but really a red queen - face down onto the table. A second deal to the table, or a top change, would accomplish the same end, but they don't fit anywhere as well as The Ultra Move. Do a triple turnover to show a red queen.

Afterthoughts: It's quick, and it's impressive. There are plenty of possibilities for patter themes, which is why I didn't suggest any patter. Make up your own. The fact that you turn up a red queen immediately after tabling the selected(?) card, is a convlncer. That's why no false shuffle or cut was suggested after tabling the supposed selection. A false shuffle or cut could fit there, however, if your presentation called for it. Up to you. At the end, a quick cut and wide face-down table ribbon spread (instead of the slip cut) also works. Again, up to you.

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

PUBLISHED, WRITTEN, EDITED:

I OfaVlie

ILLUSTRATIONS:

Robert E. Lorayne

Ellipses (...) |his issue continues the tradition... it's the fifth year...of making the February issue an all-card issue. (Check out the variety of card stuff in this issue - they're all different principles, and all good.) The idea continues to get an excellent response and it works for me because I continue to receive more "card" contributions than any other kind. Take another look at the Ellipses!...) column in the last issue, the piece about knowns/unknowns. I'll say what I've said for over nine years...of course you can send in your contributions even if you're an "unknown." If it's good - I'll use it...I don't care if your family forgets your name! (If you really want to be read, to be recognized - Apocalypse is the place. I still see many of the items I turn down appearing in other magazines.) I can use non-card stuff, but will accept any good magic - in any area - and it can be close-up, platform or stage. I do appreciate the fact that out-of-USA subscribers really have to pay more than it would appear for a subscription to Apocalypse...because of the exchange rates. Example: A one-year airmail subscription to Australia is $57.50 U.S. It costs $96.84 Australian dollars to buy that many U.S. dollars in Australia. At least it did a while ago...don't know what it costs now. Every envelope containing Apocalypse says, "Please forward, the postage is guaranteed by the addressee," etc. The post office hasn't forwarded one yet...in over 9 years! Dr. John K. Williams of Australia told me about an article he'd read. Short version: If you lived in the mid-1800's and were challenged to solve one of the following problems, which would you have selected (because you thought it was the easiest)? 1. Increase the average life span in the U.S. by about 30 years. 2. Instantly convey the sound of a speaking voice at point "a" to most any other point in the world. 3. Develop a vaccine to stop polio. 4. Instantly convey a visual replica of an action taking place at this instant to living rooms all over the country (or the world). 5. Convey a letter or parcel from N. Y. to Boston, undamaged, in 72 hours or less 6. Physically transport a person from N. Y. to Los Angeles in less than 6 hours. 7. Build a horseless carriage of the qualities and capabilities described in a current automobile brochure. (Forget about putting a man on the moon!) Which would you have selected because it seemed easiest? The fifth? Sure seems as if it'd be the easiest. Perhaps that's why the government promised to solve it...and "stamped" out all competitors. Wouldn't it have been great if this problem, like the other 6 impossible-to-solve problems, had been entrusted to the free market... private industry!? (Who said that if the government owned the Sahara and Mohave deserts we'd have a sand shortage?!) Nepotism? I've appeared (many times) on the Johnny Carson, Mike Douglas, Jack Paar, Merv Griffin, John Davidson, Ed Sullivan, Richard Simmons, David Susskind (& so many more) shows and none of the above are (were) personal friends. Dick Cavett is a personal friend. I've never been on his TV show. Incidentally, he told me about being produced from a crystal cabinet (by Doug Henning) on a TV special (late 1970's). He was crammed, and locked, into the cabinet. No one realized that an introduction and some commercials had to be done before the trick. Part of the cabinet had been glued that day with glue containing ether. It hadn't completely dried and Dick is sensitive to ether. So - he was slowly losing consciousness inside the cabinet! When he was produced he just managed to stagger upright - as one of his trouser legs caught on the cabinet. Quite a mess. Fortunately, viewers couldn't tell...all looked fine in the living rooms of the country. Interesting what draws mail. I received two letters berating me for not appreciating radios on beaches. (Ellipses[...], November, 1986 issue.) Both writers said they have every right to listen to (usually rock) music. Why is it those who are always screaming about their rights do not give a hoot for anyone else's!? I'll fight for your right to listen to anything you want to as long as you uphold my right not to listen. I don't want to hear your music. I'm reminded of left-side-of-the-road drivers (who cause most traffic problems). They stay in the left lane (I wonder how long they have to be driving before learning that the left lane [right lane in England, Australia, etc.] is for passing only. Some simply will not move over, no matter how much you flash or honk; they're usually slow drivers. I once talked to one such. His attitude? "You have no right to tell me how fast to drive." Unbelievable! Because that's exactly what he was doing to me. I told him he could drive 5 miles per hour, but in the right lane. I explained that he was a discourteous "pacer," forcing me to drive at his speed because he wouldn't let me pass. He looked at me as if I was a bit strange just as, I assume, the 2 subscribers would look at me because I don't want to hear their music! 2. mi\VfMmw.%KW.m:

All

As usual - an awful lot of t e r r i f i c magic!

is published every month by Harry Lorayne, checks are to be made payable to Harry Lorayne,

at: 62 Jane St., New York, N. Y. 1001 it. and mailed to him at that address.

Individual issues - $it.00 each Overseas subscription - $^6.50 surface mail Subscription - $U0.00 per year (U.S.A. dollars only) - $5U.5O air mail All back issues - $it.00 each, plus pstg. $57.50 airmail to Australia, Japan, So. Africa, etc. Canada & Mexico - $U5.50 surface mail. D 1986 Ai Hrscnletd Crowing reproduced bv afToooomeni wrtn uncniews enchjsrve Wve TheMarQoRwaenGaUeÂťies.New W

1320-

Lofayne's $4.00

VOL. 10 NO. 3

MARCH, 1987

ISSUE NO. 111

IAN BAXTER THE MULTIFAKED CARD

|his is strictly and only for other magicians - and it's funny. Ian gave me one, but he didn't tell me how to make it. It's not a big problem, however. It's easy, but might be difficult to explain in print. I'll try; once you understand it, you may find better ways to make it. There is no trick here; no effect, no move. But Ian had me laughing hysterically when he "did" it for me. Basically what it is, is - you display one card and rattle off 15 to 21 different gaffs on that one card - with a strong "kicker" gag. Ian said it had "15 separate facilities." I've added about six more (two are pure "baloney"). Let's make the card first.

'132H

You'll need a poker size blue-backed card and a matching in size, and design, red-backed card. The faces are immaterial. You'll need one other spot card - say, the 4C - its back color is immaterial. You'll also need some glue or cement. The "card" will have to be "shaped" as you make it and I've been told that contact cement works best. However, I've tried it with plain old glue, glue stick, etc. Seems to work fine with anything. Experiment. The level of neatness, how much time you want to put into the making of the card - is up to you. Once you have it, you won't have to make up another one.

me is about 14 inches long. The length is both immaterial and up to you, obviously. You will wrap it around the card when you're carrying it. Push one end of the thread (using a needle will help) through the card at center of the "belly shaved" end - about a quarter of an inch down from that end. Tie it into place. Attach a button to the other end of the thread. You'll decide on the size of the button and how (and if) to color it when you learn its purpose. You're all set. Look at the illustrations - I've exaggerated whatever I could; everything should be exaggerated anyway.

Okay; glue the blue card and red card together face to face. Cut the 4C in half, the long way (you're better off having it already cut when you start gluing). Glue one long half, face out (back to back) on the left side of the blue back - and the other the same way on the red side. You'll want to shape/mold and cut the triple-thick card before the glue or cement is completely dry. Taper the inner end of the card with scissors. That is, trim each side (less than halfway up) to make that end narrow. Shape both the corners neatly. Then, "belly shave" the outer (wide) end. I.e., cut a narrow curved strip out of the center of that end. Now; give the entire card a good lengthwise (longitudinal) bend (a crimp). Then, corner crimp one corner. To keep us working together - hold the card blue back side up, narrow end inward - the 4C is at your left, the belly shave is at the outer end. Crimp (or bend) up the inner right corner. Exaggerate it, of course. And, put a side crimp at center of the left long side. Just push up with a fingertip - you may have to press hard to form that crimp, to make it visible. Do it, even if the card (triple thickness) tears a bit at the area.

Display the card to another magician, say that it's a "multifaked" or "multigaffed" card (for the "discerning cardician") and rattle off each "facility," pointing out each one and/or demonstrating it as you mention it. It's best to memorize the items in order but you can list them on a piece of paper and read them off (rapidly) as if reading instructions. Here goes:

I added a nail nick. Do that at center of the inner end. Again, exaggerate it - you want it to be easily seen. It's a good idea to let the card dry now; the bends and crimps will set (remain in place). You may want to hold those crimps in place with hands and fingers as the card (the glue) is drying. Do whatever you have to do to shape the card as you want it. When it's dry, and stiff -- and shaped -do a few more things to it! Holding it as described (blue back up, nail nick at inner end) use a hole puncher to make a hole near the right side at the inner end, about an inch (or half an inch) up. Punch another hole at the small club index at outer left - just under the " 4 . " All will clear when you look at the illustrations. Cut out a diamond pip from an extra card. Paste that at center of the face-out 4C at your left of the gaffed card (blue-backed side).

1. "It's a red/blue-backed combination." Turn to show the red back and blue back. 2. "It's a double-faced card." point to the half 4C on each side.

Turn and

3. "It's a double-backed card." This is about the same as item #1, but say it anyway and turn to show the half back on each side. 4. "It's a long/wide-card combination." This is hogwash, but say it. Indicate the length and the wide (wider) end as you do. 5. "It has daub on it." Point out the daub.

Another "item" I've added (suggested by a few people) is daub. Make some sort of smudge, to represent daub, on the blue back toward the right and about an inch from the end. (Look at the illustration.) I used a black marker pen it doesn't really matter, so long as it's visible. Put a large "pencil dot" (use blue ink) at the blue back's outer right corner.

6. "It's pencil dotted on both sides." Point out the "dot" at the corner on one side; turn the card and point out the "dot" on that side. 7. "It's narrow end.

stripper

card."

Indicate the

8. "It's belly shaved." Point that out at the end where the thread is attached.

Turn over the card; narrow end toward you. Put a large "pencil dot" (use red ink) at the red back's outer right corner. Cut a piece of sandpaper approximately two inches long and a bit less than half an inch wide. Attach this strip, rough side out, at center of the redbacked portion of the card! To the right of the strip, at about center (where the X is in one illustration), affix a small folded piece of transparent tape - or any sticky substance. I added this item for - magician's wax! You can even put a tiny dab of magician's wax (really) there instead of tape. Change the wax or tape when it loses its "stickiness."

â&#x20AC;&#x201D;

9. "It's marked on both sides." This is an item I've added. I simply point (sometimes with a pencil that's handy) at a spot (any spot) on one side, then the other! If you like, you can darken a white spot on each back and point that out - doesn't matter. 10. 11. 12. "It's corner crimped - side crimped - and longitudinal crimped." Point to each as you mention it. Hold up the card so that the longitudinal crimp can be seen. I've listed these together to save space. You can say them that way or say them as separate items.

Finally â&#x20AC;&#x201D; you have to attach a piece of black thread (you want it easily seen) to one end of the card. The piece on the card Ian gave

13. "It's a thick card." I've added this one. It is thick; might as well use it. Let him feel the card, if you like, as you say it

'1322-

the thread

a cyanide capsule!"

don't waste time or break the rhythm. 14. "It has an extra pip." Point out the diamond pip on one side. (By this time, there should be screams of laughter!)

The button should be at your fingertips, being displayed as you end the sentence. And that's it.

15. "It's nail nicked." Point out the nick at center of the narrow end.

Afterthoughts: It's very funny. If you do not get laughs trom magicians, you're not presenting it correctly. The last line is lovely! It's faster than it reads, of course, because I had to write the action for each remark. You just do the action. Don't, incidentally, say the numbers out loud.

16. "It's holed for the punch deal." Point out the holes. I count "one, two, three, four" as I show the two holes on one side then turn over the card to point out the same two holes! I sometimes say — "It has four holes for the punch deal."

Although I think the number of items mentioned is just about right, you can add more. (Be careful - too many may "lose the humor.") For example; you can scratch one large club pip on each side, and say, "It's a one-way card." Stick a piece of Mylar or aluminum foil on one back, and say, "It's a 'peek' card." And Doug Edwards suggested salt. Put a dab of glue on one back and sprinkle some salt on it. Let it dry. You can write your name, or initials, at one clear corner of the 4C, point it out, and say, "It's already signed for all signed card effects!" (I just made that up it made me laugh out loud as I thought of it.) And so on.

17. "It's a slick card." This is another one I've added, and it's pure baloney. Move a fingertip back and forth on the blue back as if feeling and pointing out a slick spot! 18. "It's rough and smooth." Turn the card and indicate the strip of sandpaper. Rub his finger on it as you say it, if you like. 19. "It has magician's wax." Most often, I press a fingertip on the tape or wax and let the card dangle for an instant. 20. "It has a thread attachment for the rising card." Show the thread, of course. 21. "And if all else fails - the ultimate show-stopper is attached to the other end of

Randy Tanner

All manufacturing & commercial rights reserved by Apocalypse, Harry Lorayne, and Ian Baxter.

No Quarter

This was scheduled to appear in the July, 1986 issue of Apocalypse with the other "torn/ corner/restored" effects but I ran out of space. So, here it is. Many years ago, Randy purchased an item called The Red And Blue Decks. At that time, he thought it was an excellent 1dea. The problem, however, was that it utilized two gaffed decks; he also felt that the "punch line" needed to be stronger. In trying to solve those two problems he evolved a more entertaining routine with no gaffs. All you need is two duplicate cards - and a few seconds of time to prepare.

choice. This spectator ends up holding the blue deck. Work according to the number named. If that number is 6 or 7, you don't have to handle the blue deck at all. If it's any other number, uncase the blue deck, do an overhand jog shuffle, fan to show the faces without exposing the torn red card - then move (if you haven't already during the overhand shuffle) as many cards as necessary from bottom to top or top to bottom to set the torn card to the position named. (If the number is 4 -- double cut three cards from top to bottom, etc.) Put the deck back into its case . If blue is the chosen deck, do any necessary adjustment, and hand it to the spectator (or another spectator) for safe keeping. Take out the red deck and give it to another spectator for shuffling. If your first spectator says "the red deck," hand that deck to him for shuffling, and give the blue deck (after any necessary adjustment) to another spectator for safe keeping.

You'll need two decks, one red backed, one blue backed; and two duplicates of any red-backed card. We'll assume that you have two extra QC's. Pencil dot two diagonal corners of one of them and leave it in the deck. Tear off a quarter (corner) of the other duplicate QC (Fig. 1) — and place that corner into the folds of a folded handkerchief. The handkerchief is in any pocket ; jacket breast pocket

Take back the shuffled red deck, spread it to locate the pencil-dotted QC; bring it to the top. Using the best force you know, force it on the spectator who shuffled that deck. Instruct him to fold it in half and to tear along the fold - he tears it in half. Then, he tears the halves in half to end up with four quarters.

is normal. Finally, the red QC with one corner missing is positioned at seventh from top of the blue deck.

Remove the handkerchief from your pocket. Don't unfold it; just open it to form a pocket, and make sure that the hidden torn-off quarter card is visible only to you. Take the torn card from your spectator, and openly and deliberately drop it (the 4 quarters) into the folded handkerchief. Drop them in so that the hidden quarter card remains separated; you want to be

To Perform: Bring out both cased decks. Ask one spectator to name any number between 1 and 10, and to indicate either the red deck or the blue deck. The deck choice is a magician's

•1323-

able to reach in and grasp it easily. Then, as an "afterthought," do just that. "Wait; I forgot something - please hold onto one of these pieces." Give the piece to the person who tore the card. At this point, you can either cause the pieces in the handkerchief to disappear - by lapping them, which is easy enough with the handkerchief as cover - or, simply put the still-folded handkerchief back into your pocket and forget it. Turn to the spectator who is holding the cased blue deck. "You've been holding onto that blue deck - your choice - since before we really started this trick, haven't you? And - you also selected the number (name it) before we actually started, right?" Instruct him to open the case, take out the deck, and count down to the number he selected. All that's left is buildup, of course. He counts down to his number to find the restored, red, QC with one corner missing. Let spectator #2 match the piece he's been holding to the restored card - it's a perfect match!

Jonathan Townsend

Afterthoughts: It's a simple, and direct, effect"! Do not let its simplicity "turn you off;" the layman response is quite good. You can involve three spectators; let one select a deck, another the number, and the third selects the card from the red deck. Randy suggests you get a matching Pinochle deck. Since that has duplicates of all cards from 9's to aces, it enables you to do this routine without ruining two decks each time. Simply replace the necessary card with one of the Pinochle deck duplicates. He also likes to do the routine with a court card; this, too, is facilitated by the use of a matching Pinochle deck. Both decks are "clean" at the end. (You can use only one duplicate, of course, but the red deck would be one card short.) It wouldn't be wise to let the QC be seen, however, during your next effects. Just one thought runs through my mind; I'm wondering if it wouldn't be better and/or funnier to have the card found at the selected position in the blue deck with the three pieces taped together rather than really and wholly together. Your closing line might be, "Well, what do you think I am? A magician?"!

Extra Coins Across

I've had this routine on file for 4 years or more. (I have other material on file longer than that! But I get to everything sooner or later.) This is a good routine, but you'll have to put in a bit of practice to get it flowing. Assume you've just concluded a 4-coin routine (Jonathan uses half dollars) - secretly add a fifth coin to the stack. As you hold the stack at the fingertips of both hands, separate two coins; in other words, "catch" a break so that the coins are separated two-three - the "two" ready to be tossed from right to left hand. Making it look as if you're tossing the four coins from right into left hand, release only the two separated coins. Of course, if you can toss and retain three coins without the "break" - do it.

Your attention is on your closed fingersdown left hand, pattering about the four coins, as your right hand Classic Palms its three coins. Jonathan clips them, at their edges, between his first and fourth fingers, then simply closes all fingers bringing the three coins into Classic Palm. (Fig. 1 shows this in prog-

ress. ) The coins will spread a bit when you do this and that's okay, because it makes it easier to release one coin as you have to do. Relax your palm allowing that one coin to fall onto your fingertips, and immediately push it outward with your thumb, displaying it at the fingertips of your palm-down right hand. (Fig. 2.) "One coin has traveled." Turn your left fist fingers up, look at it, and say, "That leaves three coins in this hand." As you talk, back clip the right-hand coin - the one just displayed - between your right second and third fingers. This is done from the position shown in Figure 2. Your thumb pushes the coin up between those fingers and rolls it farther back, away from your fingertips. (See Fig. 3.)

As you do this, both fists turn fingers down, momentarily. (After a bit of practice, you'll see that you can keep the coin that's going into back clip out of spectator view. ) Let the two right-hand Classic-Palmed coins fall to your right fingertips, causing a clink. Immediately open both hands - turning them palm up; display two coins in each hand. ("The second coin has traveled.") The extra right-hand coin is still back clipped and out of sight. And, make sure that one of the left-hand coins is lying at finger-palm position. At this point, ask a spectator to hold one hand palm up. Close both hands; your attention is on your left hand. As your right hand closes

â&#x20AC;˘1324-

"retrieve" the back-clipped coin; that is, bring it back into your hand. Your right little finger does it for you. Bend it backward to grasp the clipped coin's free edge, your second finger releases its clipped edge, and your thumb pushes it "home." This will take some practice. At first, you might find it easier if your thumb pushes the coin a bit, enabling your little finger to grasp its free edge. (Fig. 4.)

Immediately open your right hand to display three coins. (The patter is up to you, of course - "There's the third coin!") In the meantime, allow one of the coins in the closed left hand (the non-finger-palmed coin) to slide down to near the little-finger part of the hand; in preparation for the Han Ping Chien move onto the spectator's hand which follows. (The handling is Geoff Latta's.) Move both hands toward your spectator's palm. Drop the three right-hand coins -- from your palm directly onto his -- as, at the same time, your left hand allows the one coin (near little-finger part of the hand) to slide out onto his palm -- joining the three right-hand coins. Ask your spectator to close his hand -

MIKE BORNSTEIN

to guard the coins. Don't worry about him seeing four coins - it all happens too fast. Just take attention away from his hand the instant you drop the coins. Do that by opening your left hand to bring attention to, and to display, its one remaining coin. That coin is in finger-palm position. Jonathan opens his hand slightly and releases the coin from finger palm. It falls onto his palm, and then he opens his hand all the way. The coin is, therefore, displayed on the palm, not at finger-palm position. It's cleaner, and "truer," that way. "That leaves only one coin." Bounce it from left to right palm, then (apparently) back again, retaining it in your right hand. In other words, vanish it. You can, if you like, sleeve it, or lap it if you're sitting; or simply keep it palmed in your right hand. Slowly open your left hand to show that the last coin is gone. Ask the spectator to open his hand; there are four coins there, of course! Afterthoughts: There are a couple of areas that call for practice. One is the release of one of three coins from right-hand Classic Palm. If you prefer, you can use an edge palm here - that may make it easier for you to slide out one coin. The other area is the retrieval of the back-clipped coin. Back clipping it in the first place is not as difficult as retrieving it. At least, that's so for me. Go over the routine and you'll see that once the moves, the handling, flow - the first three coins "travel" in 1-2-3 cadence, quickly. Your spectators don't have a chance! (Geoff Latta has been using a 3-coin-ahead idea for years. He does a similar routine without the backclip.)

FOUR-INSTANTS

B is Mike's handling of the pretty standard (by now) plot/effect wherein a 4-of-akind assembly is performed with four of a kind of a different back color. His opening switchaddition (also fairly standard) handling is excellent. Other than that, you need to be able to do an Elmsley Count or The Lorayne Count (as taught in Apocalypse; February, 1986), the 01ram Subtlety, and one or two other minor moves. The disappearance of each of three kings (Mike uses kings; I'll teach it that way) is optional since you can use any "vanish" you like; I'll teach it all just as he does it.

You'll need a red-backed deck and the four blue-backed (matching-in-size) kings. The setup, which is also flexible - change it as you like after you're familiar with the entire routine: The fan of four face-up blue-backed kings is on the table; alternate colors, from face to rear; assume they're CHSD. Take the KC, KH, KS out of the red deck â&#x20AC;&#x201D; leave the KD somewhere near bottom; it isn't used, you want it out of the way. The KH is between the two black kings, the black kings are in opposite order to those on the table. In this example, from face to rear - KS, KH, KC. (Fig. 1.) Place these three red-backed kings face down on top of the facedown red deck (KC is top card). You're "set."

"set" order. Talk about the fact that they'll be easier to keep track of because their backs are blue. As you talk, or as you place the blue kings face up onto the face-down deck and dealspread off some cards, get a left little fingertip break under the top 3 red-backed cards; the three red kings. Square all and lift the 7card block from above with your right hand. As you lift, your right thumbtip "catches" another card. This is an indifferent card, and your right thumbtip keeps it separated. The handling now is fairly standard except for the way the last king (KD) is shown; that is subtle, and good. In appearance, you simply display each king, face and blue back. The left

To Perform: Display the four blue-backed kings, keeping them (or placing them) in the

â&#x20AC;˘1325-

thumb peels off the upper face-up king (KC), as the right-hand cards flip it over to show its blue back. (Fig. 2.) You can name each king, or simply count as you display; up to you. Push this face-down king to beneath the right-hand cards (it goes flush). Your right thumbtip now holds a separation above two cards. No great pause. Repeat exactly with the blue KH. Your right thumbtip is now separating three cards. Repeat with the blue-backed KS; your right thumbtip separates four cards (from four cards). Now, in appearance, the four blue kings are moved forward so that your left fingers can hold them. That's what you do do - but as you do, the four separated (bottom) cards are dropped onto the deck (the red back of the indifferent card shows at top of deck) as your right hand moves forward the upper 4-card block. That block is grasped with your left fingers (see Fig. 3) as your left hand tilts up toward you back of deck directly toward you, as your right fingers spread the four kings. (Fig. 4 is your view; the four spread cards you see are three red-backs and the KD. Fig. 5 is the spectators' view; they see the three kings in correct order [don't mention that; it registers subliminally] and a blue back - the blue back of the KD.)Continuing fluidly, your right fingers grasp the KD at its outer right corner, and turn it face to audience ("And, of course, the king of diamonds," or "...king number four"), placing it onto the three red cards. (Fig. 6.)

Square the 4 cards as you take them with your right hand. The packet is held face down (the blue back shows, of course) as your left hand tables the deck. This count/display took some space to describe; in performance it is pretty quick, it's all done in rhythm, and appears perfectly natural. Your spectators should have no reason to believe that you're holding anything other than the four blue-backed kings. Actually, only the top one is blue; the other 3 blues are under the top card of the deck proper. Flip the packet face up and deal the kings

into the standard "T" formation; spades, hearts, clubs in a left-to-right row. Use the remaining KD to "adjust" them, flashing its blue back â&#x20AC;&#x201D; then leave it face up beneath (south of) the row. "Here are the blue kings." Pick up the deck and let cards dribble from right to left hand - "And I'm using a red deck." Stop dribbling before you reach the top area; you don't want to flash the blue backs. Square the cards and say that you want to put some red cards on each blue king. (You can shuffle first, keeping at least the top four cards intact - if you can do it without flashing blue backs.) You have to take the top four cards in a block and place them (face down) onto the faceup KD. Mike simply riffles up with his right thumbtip (near top, at inner end) until he sees the first blue-backed card fall, then he "lifts that card back" and he has the required block. This "plays" because you're apparently counting in order to take a specific number of cards. (You can, of course, thumb or "pinky" count the four cards.) Don't let the block spread - you would flash blue backs. It is placed onto the face-up KD. Then, place three cards (from top) face down and flush onto each of the remaining three kings. Take each set of 3 just as you took the 4-card block - for consistency's sake. Table the deck proper. Pick up the KD packet, hold it in your left hand as your right fingers pull out the KD (the lowermost card - Fig. 7) and flip it face down onto the top of the packet. Its blue back shows. "Remember; the king of diamonds is the 'main' blue king." Table this packet back to position.

Pick up the left-end-of-row packet (KS). Use the face-up KS (you can't flash its back it's red, supposed to be blue) to flip face up the remaining three cards (all together). (See Fig. 8.) Buckle the bottom card with your left fingers so that you can slide the KS to second from bottom. (Fig. 9.) Square. Magical gesture, then Elmsley Count to show that the KS has disappeared. Flip the packet face down, allow the cards to spread as you drop them back to table position - four red backs show. (The king disappears at face, the blue back disappears at back!) Pick up the "main" (KD) packet - your right fingers pull out the lowermost card (it's blue) and flip it face up onto the top. It is

1326-

the KS . (The kings appear in proper sequence.) Flip it face down on top. Table the packet to posit ion. Pick up the center-of-row (KH) packet, and handle it exactly as you did the KS packet, until the face-up KH is slid to 2nd-from-bottom position. Flip the packet face down onto your left palm. Magical gesture, then show that the blue(?) KH has disappeared - via the Olram Subtlety. I've taught it in Apocalypse before, but briefly: Push/deal the top card into your right hand as both hands turn palm down to flash two indifferent cards. (Fig. 10.) Turn your hands back to position as your left thumb deals off the left-hand packet's top card and your right hand drops its card - both face down to table position. Show the remaining two cards the same way (your left hand flashes the same card), and deal them, not too neatly, face down onto the first two. Pick up the KD packet and do exactly as before - the blue-backed KH is flipped face up from bottom to top, then face down on top. Table the packet.

this final Elmsley Count. He complete cuts at the break. This puts him to proper position for a face-up Ascanio Spread - to show all 4 kings. Pull the double card to the right, out of the left-hand spread. (Fig. 13.)

13 10 Pick up the right-end-of-row packet (KC). Say, "This is the toughest one..." as you, again, handle it the same way. The face-up KC is slid to second from bottom of the face-up cards but, this time, as you square, your right fingers pull back the upper two cards as one. (See Fig. 11.) As you say, "...but I'll try; watch the king of clubs," do the "paint brush" change. That is, push the double card forward, flush, onto the KC and immediately pull back the top single card. It appears as if the KC has changed to another card, and it can be startling. (Fig. 12.) Square; say, "It's really gone!" Do a face-up Elmsley Count - no KC. Flip the packet face down, spread slightly and toss to table position. Pick up the KD packet. Flip the bottom, blue, card (KC) face up to top, as before, but this time turn it face down and place it back to the bottom. Immediately do an Elmsley Count to show four blues - "All four blue kings have arrived." You can end here. Mike likes to get a break under the top two cards as he finishes

Afterthoughts: Ending as above is fine. If you've placed the deck proper face up slightly to your right, you can drop the KH (the double card) on the deck so that the indifferent card (behind the king) coalesces - then drop the remaining three kings, singly, onto the KH. It's gilding the lily, but you can have mates (say the red 4-spots) set - one at bottom and one at top. The top one becomes the separated indifferent card that's stolen after the three red kings are stolen. Then, if you want to clean up as just described, you can deal off the 4 bluebacked kings at the end - a red four showed at face of deck before, and a red four shows now. (You couldn't shuffle before placing "indifferent" cards onto each face-up king.) I don't think this is necessary. I mention it for completion's sake. Go over Mike's handling of the count/display - it really is quite good; quite convincing. Learn the routine; fill in patter and presentation, and you'll use it. If you carry four blue-backed kings and four red-backed kings, you can present this as an impromptu effect with a borrowed deck!

Terrific magic from Richard Bartram, Jr. - Gary Ouellet - Gilles Couture Eric DeCamps - Sol Stone - Evert Chapman - and more.

Remember - if you photocopy

PUBLISHED, WRITTEN, EDITED:

=1327=

this magazine,

Harry Lorayne 3CC

you lessen its worth to YOU!

ILLUSTRATIONS:

Robert Lorayne

(ÂŁ. 19B6 Al Hwvrhfeld Drawing reproduced by special arrangement with Hirvrhield s exclusive representative. The Morgo Feiden Galleries, New York

RICK SHERMAN

BLUE PLATE SPECIAL

iHiune properly, this is an impromptu stunner. What it is is a penetration effect; a coin penetrates a plate. Rick's original handling is almost a visual penetration. Ken Krenzel has added a "delayed" penetration - it's really a "vanish" and a reappearance. A large dinner plate works best - not a soup plate. You want it to be pretty flat. I find it easier to perform this standing rather than seated. Hold the plate at its left rim with your left hand. It's held naturally, as one would ordinarily hold an empty plate thumb on top, fingers underneath; the plate actually rests on your open fingers. Those open fingers will reach to just about center at the plate's bottom. Use a half dollar or a silver dollar; the larger/heavier the coin, the better sound you'll get -- and sound is important to the effect, as you'll see. (A half dollar works fine for me.) To Perform: Hold the plate as explained. The coin is displayed and held at your right fingertips. Don't let too much of the coin extend above your right fingertips - not if you are going to use the "fake" flash display I'll mention later. As you say something about the plate being solid, tap the upper surface with the coin — then tap the underside. "Of course, the plate is solid on both sides - here and here." Tap (downward) topside on the first "here," move your right hand under the plate - the hand (and coin) goes out of sight for that split second and tap up on the underside the second time you say, "here." And, when you tap up on the underside of the plate - almost as you tap - leave the coin on the fleshy pads of the left second and third fingertips. The left edge of the coin will be contacting the plate's underside; and the right edge of the coin will slant downward. (Fig. 1 is as exposed a view as I can manage.)

This, obviously, is the key to the entire thing. It's similar in concept to a cigarettethrough- jacket method, where the lighted cigarette is left under a sheet of paper as your right hand apparently moves it to under a man's (spread out, held by two spectators) jacket. The plate is held parallel to the floor/table during the "penetration," but watch the angles, the lines of sight. You don't want anyone seeing under the plate. At this point, you can "display" the coin again, at your right fingertips. That is, apparently flash it - there's nothing there. (See Fig. 2; your view.) This is a fleeting gesture; it's also a standard idea, so you should know what I'm talking about. If you'd rather not use it - don't. Just keep your right hand palm down as it comes into view from under the plate. Here comes the part, the sound, that "sets" this. Pretend to tap the coin at center of the upper surface two times - on the third tap, it penetrates. When you pretend to tap, your right fingertips contact the plate (as if hitting it with the coin's edge) and, with proper timing, your left 2nd and 3rd fingers make the tapping sound by moving the hidden coin up against the plate's underside. (Fig. 3. You can't see the coin [because it is flat up against the underside at this instant], but you can see the situation . ) You're going to have to play with this. You want the same sound, or as close to it as possible - as when you really tapped the plate with the coin. I get the best, sharp, "solid" sound when I let my left fingertips lower the coin a bit, then they bring it up sharply. This happens just as the right fingertips contact. Be careful not to let the plate move upward — that'd be a give-away. I have to leave the tapping to you. Practice. On the third tap — your left fingertips allow the coin to slide off onto the table. You do have a choice here - let a tapping sound be heard, then the coin visibly hits the tabletop, or, no tapping sound is heard when the penetration happens. In either case, there's a onebeat delay from tap to appearance. (It can be worked out so that delay is cut down to a point where it simply doesn't register. You can let the coin slide off the fingertips as it taps upward. It takes some practice.) You can end at this point, right after the penetration. *** Ken Krenzel continues. Pick up the coin with your right fingertips. As you say, "And it is a solid plate," tap again on top and underneath. And again, leave the coin on your left fingertips. Your right hand comes into view - do the "fake" flash of the coin, or not - as you say, "I'll do it again..watch!" Move your right hand sharply straight down toward the plate's center. Do not do the pretend tap - your left fingers create one sharp tap as your right hand opens wide! (Fig. 4.) This is a startler; the coin is gone! The instant opening of your right hand and the tap must happen simultaneously.

Of course, your right hand comes out from under the plate immediately; there must be no fidgeting here. You tap the upper surface, then the underside, and immediately bring your right hand back above the plate -- apparently still holding the coin at the fingertips.

•1328-

one-beat

pause. Then - "What

happened?

It was supposed to penetrate. It's not here..." As you say this last, your palm-up right hand moves to beneath the plate in a natural indicatory gesture. (Fig. 5.) And your left fingertips let the coin fall directly to right-hand finger palm! You'll find that you can "lay it in there" almost without pausing; there should be no perceptible pause. Start to turn both hands and the plate toward you - you want the back of your right hand to be toward your audience. As you turn, your right thumb and forefinger grasp the plate's right rim, as your other fingers curl in, "shading" the coin. Let go with your left hand and turn that hand palm up using it to gesture toward the plate's underside - which, at this moment, is topside. (Fig. 6.) "...and it's not here..." (Your right hand has been seen empty, now your left hand is seen empty.) Grasp the plate's left rim with your inposition (palm-up) left hand as your right hand lets go and moves to center plate. Pantomime pulling through (upward) the coin as you let it come into view. "Oh; here it is - it took its time coming through. (Fig. 7.) Afterthoughts: It's good. And there isn't much else I can tell you about it. Work with it and you may end up with a "favorite" impromptu effect.

NOT BY SIGHT

TETSUYOSHI HOSHINO fooled me with it. He did it three or four times - I didn't "catch" it. Here's what he did: He borrowed a deck. He took it out of the cardcase, removed the four aces and tabled the deck proper. He displayed the aces, handed them to me and asked me to mix them. I did. He took them from me, fanned them face down - and asked me to take any one. He turned his head aside, I took one ace. He told me to remember it. He openly placed the remaining three face-down aces into the cardcase. He held the cardcase opening toward me and told me to put my ace in there - anywhere. I did. He said I could mix the aces even while they were in the case, and pantomimed how to do it. I.e., take out any ace and replace it to a different position among the aces. I took the top ace and pushed it among the remaining three. I did it again, and so on. Then, Tetsuyoshi told me to close the cardcase. I did. He was still looking away from me. He pattered about trying to find the ace I selected by sound, not by sight. He shook the cardcase near his ear, opened it, took out an ace and tabled it face up. He didn't even look at it. He shook the cardcase near his ear again, and took out another ace, which he tabled face up near the first one. He shook again, took out another ace, tabled it face up near the first two. He took out the last ace and tabled that. He looked me straight in the eye, concentrated, and said, "ace of hearts." He was right! Well, it's a one-out-of-four shot. So, he did it again, and again - and again. I looked for crimps; there were none. I looked for nicks, pencil marks, daub - no.

It's amazing how you can sometimes be fooled by an old principle, one you're thoroughly familiar with. Of course, Tetsuyoshi hid the principle quite well; the handling and misdirection are excellent. Okay; I've kept you in suspense long enough. The effect can be done only because three of the aces are "pointer" cards! In other words, their faces are "one-way." That is all there is to it â&#x20AC;&#x201D; "all" except for the very natural handling. As the aces are removed, picked up - whatever unobtrusively get them "pointing" the same way. All but the AD, of course - that is not a "pointer." It's up to you, but I get all the points pointing up (or down). I consider the steins of the AS and AC the points, and the narrow part of the AH is the "point." (I'm referring to the large center pips, obviously.) Okay; those three "face" one way; the way the AD faces is immaterial. You must get them facing correctly secretly and naturally. Mix them in your hands, then hand them to your spectator; tell him to mix them. He'll do it as you did it, between the hands - the only way four cards can be mixed, naturally. The "pointers" continue to point in one direction. Now, follow the presentation I described in the "effect." Take the face-down aces with your right hand, one-hand fan them, and ask the spectator to take any one. Turn your head aside as he does. Tell him to remember which ace it is. Then - turn to the front, don't look at the card in his hand. Your right hand still holds a small 3-card fan. Pick up the cardcase with your left hand, from above - and at its sides â&#x20AC;˘1329.

which is about the only natural way to pick it up. The opening must be facing to your right (make sure it's tabled that way to begin with). Now, place the three cards into the case, naturally. You will see that the buter ends go in first, they have to. (Fig. 1; the "insertion" in progress . )

Remove and table a third ace. Finally, remove the last ace. As you table this one, follow it down with your eyes - one glance tells you which is the selected ace. Just note which has been turned. If the AC, AH and AS are still pointing in the same direction, the AD is the selected ace. Look away immediately. All that remains is your presentation. "Concentrate" for a moment, then name the correct ace. Then, pick it up to display it. Casually drop it onto the tabled aces so that its point faces the correct way ready to repeat the effect. Repeat it - once or twice more; up to you.

Push the three cards all the way in, then hold the case opening toward your spectator. Turn your head aside and instruct him to put in his ace - anywhere; above the other three aces, below them, or among them. He does, and his ace has automatically (and unobtrusively) been turned end for end! "You can even mix them while they're in the case." Follow the "effect." Let him do this - or not. Then, tell him to close the flaps of the cardcase. Don't even look at the case as you move it to near your left ear. (Left/right is according to which hand you're using and how you're facing the spectator.) Say that you will find his ace by sound, not by sight. Shake the case from side to side so that the aces are heard to rattle inside. With your right hand, reach up to the cardcase, open it and pull out one ace. Table it face up without looking at it. Repeat the sound/not sight remark - remove and table another ace. Important: Don't cover the first ace with the second ace. You'll want to see all the center pips later without moving any aces. (Look at Fig. 2.)

Henry Mayol

Afterthoughts: An old principle -- and a fooler"! IT you ITke, you can let the spectator hold the cardcase after he's inserted his ace among the other three. He can mix the aces in the case and close the case while he's holding it. Take it from him - and continue. Don't make an issue over inserting the 3-ace fan into the case. Do it normally and casually as you talk. To repeat, the aces must be set to point in one direction, at the start, unobtrusively. Many times, they will already be that way. If you have to turn one do it as you drop it or as you hold it to talk about it for a moment. One more thought: If you don't want to use aces use any "pointer" four of a kind. I like to use eights or sixes. Threes, fives, sevens and nines are also "pointers." One "handling" I've used is to ask my spectator to name any four of a kind. If he names a "non-pointer" quartet, I remove them and do any 4-of-a-kind effect. Then I lose those and ask him to name another four of a kind. So far, I have never had to ask more than twice. The second one will be a pointer four of a kind. If he names one such in the first place, go right into Not By Sight. If you prefer, you can wait until all the aces are tabled, then - look at them in order to remove the selected ace. If you do it that way, it doesn't really matter if an ace or two is covered - move them around as you ostensibly look for the selected one -- which is exactly what you're really doing.

Catapult Coin

I've seen similar ideas around, but not this exact handling. In Henry's hands, it is indetectible; it happens in a flash and is completely covered. You may have to work with it a while; there is a bit of a "feel" or "knack" involved. It is, simply, an instant (or delayed if you prefer) vanish of a coin. Place a silk (or handkerchief - 18" or 24"; experiment) over your open and palm-up left hand. Although not essential I think it will be easier for you if a corner is toward you; opposite diagonal corner away from you. Your open left fingers, beneath the silk, are pointing away from you; perhaps tilted a bit diagonal right. This is up to you; just be comfortable. Display the coin - use a half dollar. Henry uses a 10-franc coin; you want a coin with a bit of body, or weight. Place it onto

the silk - onto your left palm. It is not placed at center of your palm; place it upper left diagonal, near (or on) the bony part of the palm just below your forefinger. Your right hand grasps the silk at its (near) diagonal corner. (See Fig. 1.) Move your right hand, and the portion of silk it holds, toward the coin and point to the coin with your right forefinger. (Fig. 2.) This is the feint. (It can be done more than once.) Move your right hand back to original position and change its grip on the silk - slightly. Grasp with your forefinger now and extend your second, third, and fourth fingers. (Fig. 3.) In appearance, you're about to rapidly cover the coin with one layer of silk - as your right hand moves forward and past the coin. As you cover, the coin is catapulted up toward your right hand - it's caught by your right

â&#x20AC;˘1330-

second, third, and fourth fingers. The coin actually moves only about an inch or so. The actual catapult of the coin is probably impossible to describe in print. You'll just have to play with it. Your left hand does a short upward movement as your right hand, with extended fingers, is passing. Work toward not stopping or pausing with your right hand. (Fig. 4 is a stop-action performer's view of what it might look like at the instant the coin is caught.) It is an instant action.

that the coin is gone. You can pause, then move your right hand back. In either case, if you like, as your right hand moves back toward you, you can secretly drop the hidden coin into your shirt or jacket pocket. You can leave the layer of silk on the coin(?) and remove your right hand. Grasp the center of the silk, at the fold, as if grasping the coin, and lift the silk off your left palm. The edges drape downward. After the buildup, open the silk to show that the coin has gone. (Delayed vanish. ) And etc; up to you.

Your right hand continues moving forward, placing its layer of silk over (onto) the coin(?). From here, you have choices. You can simply, and immediately, move your right hand and its layer of silk back toward you - to show

Afterthoughts: Henry performed this for me in Europe and, as" I've told you, in his hands the "catapult" is instant, and nothing is seen. To the audience it appears simply as if he is covering the coin.

Watch for Harry Lorayne's The Ultimate Move and Larry Becker's "Will The Cards Match" in the May, 1987 issue.

Woody Landers

Center-Tb-Bottom

Reverse

is covered by the squaring action, and by your talk. The reverse can be instantaneous and is completely covered when done properly. Give it a bit of practice.

No routine here - it's a method for instantly reversing a noted card to the bottom of the deck. In Woody's hands, it's indetectible. Spread the deck from left to right hand asking your spectator to stop you. When he does, break the spread at that point and raise your left hand and its half. Push off the top card and let the spectator note and remember it. It's as your left hand returns to position and the right-hand spread is being placed onto it (and onto the selected card) that the work is done. As soon as the right-hand spread covers, your left second fingertip moves to the outer right corner of the still slightly pushed off noted card, and pulls it down, around, and under its half. Fig. 1 shows this action just starting. The right-hand spread has been omitted so that you can see just what's happening. Fig. 2 shows the card having just snapped over to beneath the left-hand half. Your left fingers pull the card under the half (Fig. 3) as your right hand completes the closing of its spread and the squaring of the entire deck. Afterthoughts: The card flipping over this way does create a snapping sound. However, as you work with it, it gets smoother and the snapping won't sound quite as loud. You have to get it to the point where the remaining sound

â&#x20AC;˘1331-

Ellipses (...) latter referring to my Penn & Teller editorial (see Apocalypse; March, 1986) appeared in a slick magazine. It's a letter that simply doesn't deserve an answer. What it is - is opinionated claptrap; so is another letter, same subject, same slick magazine. First of all, they are referring to my editorial as it appeared in that slick magazine. The typos that occurred forced me to write about it in the Ellipses!...) column of the September, 1986 issue of Apocalypse. Perhaps I'd pay more attention to those letters if the writers read my original editorial in Apocalypse - first hand, not diluted. And, if you'll forgive my immodesty, or my ego, whichever you prefer - if they read Apocalypse I'd feel as if they know something about magic, and its professional aspects. Truthfully, however, I doubt if I'd pay much attention, anyway. I find it so difficult to relate to people who so definitely state their opinions about the fact that I don't have the right to state mine! â&#x20AC;˘ A - * *

Thanks for your interest, and I know it's almost like a joke by now, but, no neither Jolly Ericson of Malmo, Sweden nor Dieter Macho of Miinster, Westf., West Germany have sent me the money they owe me. For those who don't know what I'm talking about, I wrote years ago that these two were the only two magicians who ever "shafted" me (never sent money for merchandise ordered). It became almost a running gag. But - it's not funny that there are people like that in magic. As I've written before...I'd be "jolly" too if I never paid my bills. The fact is they're both crooks; it's as simple as that. â&#x20AC;˘k-k-k

Yes - look at the subscription box of every issue of Apocalypse. It says -- "All back issues - $4.00 plus postage." All back issues of Apocalypse are available, starting with Volume I (that's 1978). The first issue of Apocalypse is January, 1978. I don't know how long they'll be available, so act now if you want a full set, or need to "fill in." I've been asked - often whether I'll bind full volumes (two volumes together). I decided against it because it'd be too expensive. But - what do you think. Write - tell - suggest. *** To the people who've written and asked why my magic books aren't translated into Swedish I don't know. My book, THE MAGIC BOOK, has been translated into Swedish. (The Swedish title is, Sallskapstrolleri.) The publisher is Bokforlaget Spektra AB, Halmstad. Ake Hallberg had something to do with that. And, when I was in Stockholm some years ago, I met Ake; a nice man, he took Renee, Bobby and me to a terrific restaurant for dinner (I think I wrote about it in an Ellipsesf . . . ] column back then), etc. He wanted to translate/publish all my magic books for Swedish magicians. We were practically all set. Then - nothing. It never happened (at least I hope it didn't). I think I did something wrong; must have, because Ake never answered my letters. After some time passed I think I know what I did wrong (at my lecture) - didn't realize it at the time - too busy, and so on. Anyway, you'll have to ask Ake Hallberg about it. *** I love reading some of the meeting reports in club magazines - because it's sometimes so obvious that some of the writers simply don't know the first thing about magic. (Others do - of course.) I haven't the space to cite all the examples from even one magazine, but here are two (because they involve m e ) : In one report, "He demonstrated Quantum Leap by Harry Lorraine (sic)." What!? What in the world does that mean? And, if you're going to mention me, give me the courtesy of checking and spelling my name correctly. The same "writer" spells Ed's name - Marlow. Yes; it may even take a few minutes to do some research - and much more than a few minutes to know what you're talking about. In one report I read about someone doing something out of Tarbell #7, and in parentheses ("Ain't it amazing how Tarbell's writings remain fresh and original after 50 years?") I obviously have nothing against Tarbell but, again, "writers" should know what they're talking about, a) The item discussed in not Tarbell's. b) It "ain't" Tarbell's writing - it's mine. And c) It remains "fresh and original" bacause I wrote it in 1972 - that "ain't" 50 years ago! Gimme a break. *** Dr. Jean-Yves Prost lives in Lyon, France. He's a friend - met him in France a number of times. He has been, and is, instrumental in arranging lecture tours for American, and other, magicians throughout Europe. He's complained to me about the fact that some magicians will do a few of the many scheduled lectures - and then quit. (One who did it there, did it here, too. No, not an American or a European.) This does not make for pleasant, or even good, relationships; costs Jean-Yves money, disappoints people, and etc. Cut it out, guys. If you make a committment - fulfill it!

is published every month All checks are to be made payable

by Harry Lorayne, at: 62 Jane St., New York, N. Y. lOOlh. to Harry Lorayne, and mailed to him at that address.

Individual issues - $li.00 each Overseas subscription - 546.50 surface mail Subscription - $1*0.00 per year {U.S.A. dollars only) - $5k.5O air mail All back issues - Sh.OO each, plus pstg. $57.50 airmail to Australia, Japan, So. Africa, etc. Canada & Mexico - $1*5.50 surface mail.

1352 =

Lotayne's VOL. 10 NO. 4

$4.00

APRIL, 1987

ISSUE NO. 112

|ood thinking here. The point of a large safety pin is pushed clean through the end of a borrowed bill; the pin is closed. Then, the closed pin is moved from its original point of entry to the bill's opposite end. Finally, the pin is ripped off the bill. Both the bill and the pin are handed out for examination the bill is unharmed! Richard tells me that the principle behind the effect has its roots in a Walt Rollins prediction idea; the effect, however, is of an entirely different nature and handling.

m sis "1333*

The modus operandi is a gaffed safety pin; the same gaff used for Linking Pins. The point is soldered in place and there's a cut down at the pin's closed - curlecue - end. A duplicate non-gaffed pin is also needed. Obtain a set of Jerry Andrus Linking Pins and you're all set. I have to assume that you have, or are familiar with, the gaffed pin. Start with that gaffed pin concealed in your left hand - in a "loose" finger palm, or it's simply lying on your curled loosely-closed fingers. The slit (curlecue) end is on your forefinger â&#x20AC;&#x201D; pointing outward; the point (clasp) end is at the base of your little finger. It will clear up for you in a moment. Your fingertips (thumb and first and second) are near the slit, curlecue end, ready to force open that slit. The slit itself can face left or right; you will decide that after seme experimentation. I keep it to my right - I want to be able to push upward, toward myself, with my first or second fingertip, to open the slit. (If your hands are small [as mine a r e ] , you may have to angle the pin more acutely in order to keep it hidden. Or, make a smaller gaffed pin.) To Perform: Borrow a dollar bill from a spectator. Hand him the ungaffed pin and ask him to open it and look at it. As he does, your right hand (holding the bill at its inner end) places the inner end between your left thumb and side of forefinger. (For a gag line later the reverse, green, side of the bill is toward you; on the underside,

Washington's head points left. If the gag isn't important to you [you'll know when you read it later], the bill can be held however you like.) I place the very edge onto the pin's curlecue & press down on the curlecue with my right thumbtip. My left forefinger provides whatever leverage I need - the slit automatically opens and the bill's end slips in. (Fig. 1 - exaggerated; the bill has just slipped into the slit; the curlecue part is behind, and hidden by, the bill.) The outer half of the bill drapes down over your left fingers effectively covering all.

per end. From Figure-4 position: Your right hand brings its end downward toward you (over the inside of your left hand). And immediately grasp the protruding (clasp) end of the regular pin between your right thumbtip and the bill. (Fig. 5 - your view. You can't see it, but your right thumb is grasping the regular pin as described. ) No perceptible pause here. Your right hand immediately moves its bill end (and the regular pin) straight upward again. Un-gaffed pin moves to behind the bill. At the same time, your left hand lets go of the gaffed pin and moves away from the bill. Just let go; let the gaffed pin swing into view. (Fig. 6; your view. The right thumbtip can be as shown or directly on the clasp.) It's a pretty switch. And, it appears exactly as if a pin (the gaffed pin) is piercing the bill. The switch is done casually; don't make a move out of it! The rest is easy.

Your right hand draws the bill inward; it guides that end about an inch into the pin's secret opening. (Fig. 2.) This action (a second or so) is done as you're ostensibly looking at and straightening the bill. A beautiful, instant switch of pins follows but, first, the ungaffed pin must appear to pierce the bill. This will be difficult to explain, you'll be able to work it out yourself once you see the required end result. Take the opened ungaffed pin with your right hand and pretend to pierce the bill. The only way I can explain it is - push the point/shaft between the bill and your left 1st and 2nd fingers near the area where the gaffed pin is attached. Push the point downward. All is well covered by the part of the bill that hangs over your left fingers. (Fig. 3; I've tried to expose the situation.) Close the pin.

Okay; your left hand grasps the bill (and the hidden regular pin) at its left long side and takes it from your right hand. The ungaffed pin is held in place behind the bill by left thumb and 1st and 2nd fingers. Move your left little finger to behind the bill - the bill is automatically held between that finger and your third finger. This is to prevent the bill from folding as you do the "moving pin" effect. Turn your left hand all the way palm down so that the bill is horizontal; the visible dangling pin dangles at the left end. Washington's portrait faces your spectator correctly.

Before I try to explain t' - switch, make sure that your left fingers conceal not only the gaffed pin but also the left shaft (pointed) of the regular pin. That will create the illusion of the pin penetrating the bill. Let's utilize that illusion right now:

The pin is hanging free. Grasp the hanging clasp end with your right hand and begin moving (sliding) the pin from one point to another on the bill (as if tearing the bill). (See Fig. 7, which shows how the bill is held when the pin is moving.) That gag I mentioned before: Richard likes to stop the pin at the center so that it hangs from Washington's ear - it looks as if he's wearing an earring! The line: "...He was a trend setter two hundred years ahead of his time - although the wooden teeth never caught on!"

With your right hand, grasp the outer end of the bill - the end that's draped over your left fingers - and move it straight upward to expose the regular pin apparently piercing the bill. The illusion can be made to be perfect. (Fig. 4 is your spectators' view; your right hand is holding the upper end of the bill.) Now comes the terrific switch, which happens in a second; it's one fluid action, but I'll break it into separate steps for you.

Move (slide) the visible pin to the right end of the bill - to about an inch or so from that end. Your right hand helps your left hand to re-grip the bill in a vertical position. The left thumb still holds the hidden regular pin behind the bill; the gaffed pin hangs down from

Your right hand still holds the bill's up-

â&#x20AC;˘1334-

about center of the lower (previously right) end. The hidden pin should be parallel to and to the right of the gaffed pin, and about an inch (or more) above it. Both clasps point downward. (Fig. 8 is your view at this point.)

the other leaving a hole only at the exit point. I'm mentioning it here because I prefer the effect exactly as explained in the text. Because of the angular cut of the gaffed pin, the shaft (at the slit) can, with only a bit of effort, be pushed through the bill. So perform the effect as described (except that you'd want to stress at which end the pin is entering) up to Figure 8 -- just prior to the removal/switch. As your left hand grips firmly, your right fingers force the split shaft of the gaff through the bill so that it passes between your left 1st and 2nd fingers. Your left thumb and 1st and 2nd fingers hold the bill firmly to prevent the bill from moving/slipping during this secret penetration. Move the pin through and back to show that it is, in fact, penetrating the bill. It really is, so it looks good.

You're going to apparently rip the pin off the bill by pulling it downward. That's what it looks like and, as you do it, you just about automatically switch in the regular pin. Your right hand grasps the visible, dangling gaffed pin so that your fingers completely cover it; your thumbtip is on the clasp of the hidden regular pin. (Fig. 9 . ) Immediately rip the gaffed pin and the ungaffed pin downward off the bill. The gaffed pin remains hidden in your hand - the top inch or so of the regular pin comes into view. (See Fig. 10.) The illusion of tearing the pin from the bill is exact. Offer bill and pin for scrutiny - keep the gaffed pin hidden in your right hand, of course. The bill is unharmed!

Before you go into the removal/switch, you have to re-position the gaffed pin so that it's back on the outside of the bill, as in Figure 8. It should be a fraction of an inch to one side of the actual hole. (If the pin is left within/ penetrating the hole/bill, it can tear the bill as it's ripped off.) End as described; let your spectators examine the re-positioned hole.

An even simpler method for the "traveling hole" effect is to use your own bill which has a hole in it to begin with. Start the effect at the opposite end of the bill. When you reach that hole near the end of the effect, the gaffed shaft will go through it, with your help of course, with hardly any effort. (I really don't think this is necessary — it's easy enough to push the gaffed shaft through the bill without a pre-arranged hole.)

\ Afterthoughts: One or two tries will clear up the handling For you, and enable you to make slight changes here and there. Richard also suggested that a "traveling hole" effect can be added. The pin enters at one end and exits at

GARY OUELLET

I wanted to record each of Richard's ideas; now you can play with them, and use whichever you prefer. And yes, this does remind me of the old sliding-safety-pin-across-a-handkerchief effect; entirely different concept, obviously. All commercial rights reserved by Apocalypse and Richard Bartram, Jr.

THREE-SECOND WONDER way they alternate, but for purposes of this explanation keep a black ace on top — so the order from top down is black, red, black, red.

By this time you know that I like four-ace revelations. I've certainly devised and published enough of them. (At some of the few magic lectures I do - I keep it very informal, taking questions at any time — I've been told by an audience member once or twice that he was sorry to have asked about 4-ace revelations. Seems as if I performed [and taught] more 4-ace revelations, and told him more about them - in answer to his question - than he really cared to know!)

To Perform: The deck has been shuffled, keeping the aces on top. Table the deck in front of you as for a table riffle shuffle - a long side toward you. Both hands rest on the deck from above, near their respective ends. With your right thumbtip, lift (slightly and at the inner long side) two cards; maintain that separation (between these two cards and the rest of the deck) for the moment.

Here's another 4-ace revelation right out of Gary's lecture notes. It's easy to do and it looks good; it certainly impresses laymen. I've added only one thing, and that's the red/black or black/red patter idea, as you'll see. There is really no sleight of hand involved, except perhaps for the first two-card break - if you want to consider that "sleight of hand."

Then - and I start my patter here - "For this trick I need..." start the action. Your right hand cuts about half the deck forward, away from you. Your right thumbtip still separates the two top cards. (Fig. 1.) Now, switch hands. That is, your right hand comes back to the inner half deck as your empty left hand moves forward to the outer half, but your right hand brings along the two "broken" cards.

The aces are on top of the deck; if you want to use my red/black patter idea, they're alternating in color. It doesn't matter which

•1335-

Those two cards are placed flush onto the inner half deck as each hand cuts about half of its half. No hesitation here; just cut off the top half of each half deck and move the cut-off portion to the side - left hand moves its portion to the left, right hand moves its portion to the right - you're forming a left packet and a right packet as opposed to the inner and outer packets. (Fig. 2.) Don't particularly try to hide the right-hand "bring back" of the two broken cards from outer half to inner half. Just do it - it won't be seen (or it won't register) if you don't break the rhythm. I'll discuss the rhythm some more, later. Right now, the replacement of the two cards on the inner half deck is part of the action of the cutting of that half deck.

As your hands place the two quarter decks (as in Figure 2) each hand takes the top card of its quarter-deck packet. Take these 2 cards and your hands move back to the inner and outer packets as they turn the cards face up onto the inner and outer packets. (Fig. 3.) "..two black cards.." (When I set the aces in alternating colors, I don't bother noting which color is where. At this point, I simply say the color I see! ) Leave the black aces on inner and outer packets. Your hands immediately "criss cross" right hand to left side packet and left hand to right side packet and each hand takes its packet's top card. (Fig. 4; spectators' view.) "Uncross" your hands (each now holds a face-down

Remember - if you photocopy

PUBLISHED, WRITTEN, EDITED:

this magazine,

red ace) - your left hand places its card face up onto the left packet as, at the same time, your right hand places its card face up onto the right packet, "...and two red cards!" (See Fig. 5, also spectators' view.) That's it - that's all there is to it. It could be performed many times within the time it took you to read up to here. Do it a few practice times, and it will start to flow. Your patter line should come to a period as you turn up the two red aces (as in Figure 5 ) . If you do not want to use the "red/black" patter, select any other patter line that fits, and that makes sense. Like - "Now I'd like to show you some magic with four aces." Then go into your 4-ace routine. I just think that not mentioning aces makes it a bit stronger. Up to you.

Afterthoughts: It should all be done in rhythm - to a "six" beat. When you try it, you will see that the sequence does consist of a 6beat rhythm. 1st beat - your right hand cuts forward the top half as the left hand holds the bottom half in place. (Figure 1.) 2nd beat your hands change places; your right hand brings back the two separated (original top) cards. Remember not to make any particular effort to hide this. The two cards are placed onto the inner half as your right hand cuts that inner half in half. 3rd beat - each hand brings its quarter-deck packet to left/right respectively. (Figure 2.) 4th beat - each hand turns an ace face up on the outer/inner packets respectively. (Figure 3.) 5th beat - your hands criss-cross to grab the top card of the left/right quarter packets. (Figure 4.) 6th (and final) beat - the hands turn the aces face up on left/right packets. (Figure 5.) Do the entire three-second (perhaps four or five seconds - according to how quickly or slowly you work) effect without hesitation, in the explained rhythmic manner, and you'll confuse magicians as well as laymen.

you lessen its worth to YOU!

Harry

ILLUSTRATIONS:

Robert Lorayne

• • • • • • • 1336 • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

GILLES COUTURE

MAGIC BY THE NUMBER that way.) Obviously, when your unbuttoned jacket "hangs" normally, the bottle is completely covered.

sure fooled me the first time I saw it performed. I'm told that Gilles fools most magicians with it - laymen go without saying. It's a magical appearance, a sudden production, of a miniature 7-Up bottle. The routine (with the bottle) was sold commercially in a "limited" fashion some time ago - and it is also in Gilles' lecture notes. You have to be wearing a jacket, a belt, and you need a miniature 7-Up bottle. I don't know how available these are, now. I used to see them in novelty stores. (Of course any miniature bottle will do, but "7-Up" fits perfectly, as you'll see.) The one I have stands approximately 3-3/4 inches, and is less than an inch across its base.

To Perform: You're standing, facing your audience; your jacket is unbuttoned. The eight count (the last word, "up," is the eighth count) should be done in a fairly rhythmic manner. "One."

Show your right hand empty by holding it up, palm to audience, as if saying "stop" to an oncoming herd of buffalo.

"Two."

Keep your right hand at "display" position as your left hand moves up to that position too. Both your palms are toward your audience at the moment.

"Three."

"Four."

Your right sleeve is shown to be empty in the same way - your left forefinger pulls down at bottom of that sleeve.

"Five."

This is when the dirty work is done - the bottle is stolen. As you say, "five," both hands pull open your jacket at waist level. Left hand at left side and right hand at right side, of course. This, too, is a standard (and a natural) gesture. As you do it, your left hand moves directly to the miniature bottle - and grabs it (at its bottom) with your curled 2nd and 3rd fingers. (Fig. 2. Fig. 3 is an exposed view - the jacket has been pulled back so that you can see the steal happening.) Pull the bottle down, out of your belt.

The effect is accomplished and performed during this one patter line: "One, two, three, four, five, six, seven - up!" A specific designed-to-show-emptiness action is done as you say each number, the bottle seems to appear between your hands suddenly and magically, as you say "up." The preparation takes a second. The bottle is inserted mouth up under your belt - at your left hip. It is inserted moving upward. Exact location is found by experimenting, of course, and it isn't that crucial. I insert it slightly more toward my back than toward my front. (See Fig. 1, which shows it slightly more to front, and that's only because it's easier to draw it

"Six."

â&#x20AC;˘13371

Your right forefinger pulls down on the bottom (at the opening) of your left sleeve in the standard "nothing up my sleeve" kind of gesture.

There is no perceptible pause, of course - maintain your beat, your rhythm. Both hands slide up to the lapels of the jacket and pull back

(open) the jacket's sides. (Again, a natural and standard gesture.) The bottle, still held at its base with your left fingers "rides" upward along the inside of the (left) jacket edge -- and remains out of sight. (Fig. 4 shows the gesture.) "Seven."

instant the hands come together. It's hidden by the right hand in either case. Fig. 5.) "Up."

Open both hands all the way. (I move my right hand forward a bit now to bring the bottle upright.) The bottle "appears" between your hands, base on left palm -- right palm resting on its opening (top). (See Fig. 6.)

Both hands move forward and down to about waist level. (I move to a bit above waist level.) They also move toward each other. Your left hand is basically back to audience, thumb upward, fingers slightly curled - the bottle is completely "shaded." Your open right hand is palm down, and above your left hand.

Afterthoughts: The specific handling during tlTe "seven" count/beat - bottle more horizontal than perpendicular while hidden between the hands, etc. - will work itself out for you as you practice.

The hands move in unison; and they come together -- almost at right angle to each other. Your left hand turns palm up under your right hand as the hands come together and as your right hand tilts forward, fingers pointing downward. The bottle, still hidden, is just about (automatically) upright. (I try to keep it in a more prone position at the

Try to maintain the beat, the rhythm, all the way, throughout the action - that aids the deception. You obviously do not want any hesitation during the "five" count when you steal the bottle. Any fidgeting then may "blow" the whole thing. The entire effect shouldn't take more than five-six seconds, if that long. You will probably want to work it out, place the bottle originally (under your belt) so that the logo "7-Up" faces your audience when the bottle suddenly appears.

ERIC DE CAMPS

RELATIVITY'S RELATIVE

|ric is one of our better close-up workers. He does it professionally. He teaches this effect at his lectures, it's also in his lecture notes, and he uses it in those professional close-up performances. It's a strange kind of thing - his inspiration is a Ben Harris effect called Dimensional Relativity. Eric's method is different, and the preparation is nowhere as time consuming - not if you can obtain the professionally gaffed cards. You can make your own by splitting cards, of course, but why bother when there are Bicycle Rider and Tahoe (Arrco) blank-backed and blank-faced cards available? You'll use one of each when you do the effect. Get a deck of each and you can do it 52 times. You'll also need a marker pen; Eric uses a purple or green one because he feels it's easier to see - it's also weirder.

Start a normal Hindu Shuffle, asking your spectator to say "stop." Try to force the stop at about center deck. When you're stopped, tap the left-hand portion with the right-hand portion, dropping the three broken cards onto the left-hand cards, and as you ask, "Right here? Okay." Place the right-hand portion under the left-hand portion. (There are other ways to get to this position; I've taught it as Eric does it. You can have the gaffs on top, then cut 'em to center and riffle force the blank facer.)

Take one blank-backed card and one blankfaced card. Place them blank face against blank back - the two together will look like a regular card. Place this double card, face down, second from bottom of the face-down deck. So, from bottom up, there's an indifferent card — followed by the blank-backed (say) 3C, followed by the face-down blank-faced (back matching the deck) card, then the rest of the deck. Remove the regular card that matches the blank-backed card — this example, the 3C — you don't want that to show during performance. To Perform: Spread some cards hand to hand, square, do a center Hindu Shuffle, etc. Just don't flash the blank near bottom. The 3C is forced via a Hindu Shuffle. Get a left little fingertip break above the bottom three cards, then take the deck with your right hand in Hindu-Shuffle position. The right thumbtip and the second fingertip take over the break. (Fig. 1.) The force is a standard one; I've explained it in print before.

Double turnover the top two cards - you'll be displaying the 3C, the blank-backed card apparently the spectator's free choice. Hand him a pen and let him sign the face of the card as you hold the deck. Blow on the ink, to dry it, then turn down the double. Fill in your own patter about his card now being unique, and so

•1338-

on. Say that you want Co lose that card into the deck as you do an overhand shuffle. Really run one card, injog the next, and shuffle off. Form break at injog, shuffle to the break, and throw the remainder on top. In other words, add one indifferent card onto the two gaffed cards. (Double cutting one card from bottom to top accomplishes the same thing.) Your spectators are (should be) convinced that the signed card is lost in the deck. A short 2-step ambitious-card sequence ensues. Snap your fingers, then do a triple turnover to show that the signed 3C has magically jumped to the top. Leave the 3C face up as your right hand grasps the deck from above. "Kick" (swing) cut the top half deck into your left hand with your right forefinger. Then, use your right forefingertip to "count" the 3 top lefthand cards (Fig. 2) and turn over the 3 cards as one. I.e., triple turnover (with your right forefingertip) the top three left-hand cards as one, apparently flipping the 3C face down. Your left thumb then pushes the top lefthand card (supposedly the 3C) out jogged to center of the right-hand half. To facilitate this, your right forefinger lifts the top half of the right-hand half â&#x20AC;&#x201D; your left thumb pushes its top card into the "mouth" thus formed. (Fig. 3.) Your right forefinger relaxes in order to let that "mouth" close on the 3C(?). What follows is a quick transposition. The signed card apparently (and magically) flies from center of the right-hand half to the top of the left-hand half. Using just your right hand, alter the position of that half deck so that it lies on the right palm. The outjogged card remains outjogged. Two things happen simultaneously now - and with proper timing. As your right forefinger pushes flush the outjogged card (supposedly the 3C), your left hand does a one-hand double turnover of its two top cards. What you have to do is to get a left little fingertip break beneath the two cards. To turn them over, your second fingertip moves up to widen that break. Actually now, the double's right long side rests on your 1st, 2nd and 3rd fingertips. Press down on the back of the double card with your thumb - this puts a slight crimp into it (to help keep the two cards aligned). Your thumb then moves to the outer left corner and pushes off the double card. It will slide over your left fingertips - those finger(tip)s push upward as your thumb pushes off the double card. (Fig. 4.) A "flick" of the wrist will help to flip it over cleanly. It isn't at all difficult, but here's an easier way: After you've pushed the supposed 3C into the right-hand half, table that half. Push flush the outjogged card with your right hand, then flip the half deck face up and do a ribbon spread - the 3C is gone. Do a "normal" double

turnover of the top two left-hand cards. Whichever way you go, square the righthand cards and place them beneath the left-hand cards. Turn down the double - and ask another spectator to sign the back of the 3C(?). Then, with your right hand, from above, pick up a double (only the signed card, apparently) as your left hand tables the deck proper. Hold the face-down double card in lefthand dealing position. Call attention to the signature on its back. Then turn it over (carefully, as one card) and point out the signature on its face. Then do a color change while the card is face up. Just sidesteal the rear card of the double into your palm-down right hand then deposit it onto the left-hand card. Standard color change action. In appearance, you've magically caused the 3C to turn blank. Turn over the double card to show that the back of the card has also (magically) turned blank. And, then, in appearance, split the card. Act it out - tap a corner against your palm (or against the table), etc. Then, start splitting oi" peeling. The acting here is important, of course. Make it look as if you're really splitting the card.

I'll try to describe, basically, Eric's handling. Holding the card in your left hand, tap its lower right corner. Then, twist your hand at the wrist so that the right fingers can start splitting/peeling at that corner. Act as if you're having a bit of trouble getting started. Bend in your left little finger so that its nail gives you some leverage. Your right thumbtip and forefingertip commence the splitting. (Fig. 5.) Note that the left thumbtip keeps its corner(s) "attached." Clip tightly there. Peel diagonally until it appears as if the two parts are still joined at only that corner. With a bit of a tug, separate at that corner, and hand each part to the spectator who signed it! Afterthoughts: You'll have to experiment with two cards until you can make that "splitting" look good. It is a weird effect, but it can elicit a strong response. Some really magical things happen, not the least of which is the sudden disappearance of both the face and back of the card.

Harry Lorayne - The Ultimate Move Mark Sicher - Through The Rope

plus Steven Schneiderman - and much more of the usual Apocalypse-level magic!

1339 ÂŤ"

Sol Stone

Penetrating

This'll fool 'em! It's good magic. And, as many of the reaLly good things are, it's also simple in concept. It's basically a copper/silver transposition, but it's done "through the table." There are no gaffs or extra coins involved - all you need is one half dollar (silver) and one English penny (copper). But, you have to be seated at a table - because you're going to lap one coin.

Transposition So; "pretend" place the silver coin into your left hand; that hand closes as if holding the coin, of course. Look at your left hand, and say, "The silver coin here." That silver coin is actually palmed in your right hand. Apparently scoop the copper coin into your right hand by placing your right fingertips on it (as in Fig. 5) and scooping toward you, toward the table edge. What you really do is let the copper coin fall to your lap as your right hand appears to pick it up. This is a standard maneuver. Your right hand closes, apparently around the copper coin, but really around the palmed silver coin. Look at your right fist â&#x20AC;&#x201D; "The copper coin here." Now, "lock in" the location of each coin. Look at, and gesture with, your left fist, as you say, "Remember; the silver coin here." Move your left fist to beneath the tabletop. As it moves, it picks up the lapped copper coin. Your attention is now on your right fist - "And the copper coin here." That's it. Build it up a bit, then open your right fist to let the silver coin fall to the table. Bring up your left hand and open it to let the copper coin fall to the table! (The patter might be - "Where I had the copper coin, I now have the silver - and where I held the silver coin, I now hold the copper.")

Both coins are on the table. Pick up the silver coin with your right hand, display it, then "pretend" place it into your left hand. Use a "pretend" placement that enables you to keep your right hand fairly flat. Sol uses the Morritt Grip (or "Purse" palm). I've explained that in Apocalypse before - see In-Hands Chink A Chink, February, 1981 issue, or Knife Through Coin in the July, 1981 issue. (Or, see Cultural Exchange in BEST OF FRIENDS, VOLUME II, where it's described in more detail.) If you don't know it, or if you prefer, use a basic thumb palm. (A Classic Palm will also do.) I, personally, use the standard thumb palm. I'm sure all Apocalytes know that but, to keep this complete unto itself, look at Figs. 1, 2, 3 and 4.

Afterthoughts: It's a quick piece of magic. You could probably perform it a few times in the time it takes to read my explanation. And, it is very good. My feeling, when it comes to any copper/silver (or card) transposition is that you must make it perfectly clear to your audience as to which hand is (supposedly) holding which coin. I'm sure that many excellent copper/silver effects or routines get only soso reactions from laymen because the laymen are not sure which coin was where, anyway. I have to leave this "location stressing," and the ending buildup, to you. You might think of using one coin and one unrelated item - like a soda bottle cap, or a die, or a sugar cube, or any small item. I think, then, it would be easier for the layman to remember which item is supposed to be where. Just do the pretend placement into your left hand with the coin, then apparently scoop up the bottle cap (sugar cube, or whatever) with your right hand - really lapping it. Do your buildup, and end by showing the "penetrating transposition."

c^pocalypse Variations Or Additions Bill Derman uses Richard Vollmer's Watch More Closely (Apocalypse; September, 1986) as well he should; it's a startling card effect. What he likes to do is to keep the two kings that aren't used in the effect in a pocket (left or right, according to which hand will be used to palm off the two used kings, as you'll see). The fourth ace (the one that isn't used) is on top of the deck. Do the routine just as taught on pages 1252/1253. The four(?) kings instantly change to four aces. The aces are shown by doing an Elmsley Count. (Obviously, you have to be familiar with the original routine in order to know what I'm talking about here.) After the Elmsley, get a break above the two lowermost cards of the packet (the two kings). As you lift off the aces to flash them again, palm the two kings. The aces are quickly flashed and then dropped onto the deck (to coalesce with the one red ace on top), and your hand goes into the pocket to bring out the two pocketed kings with the two palmed kings. It all "meshes" quite nicely.

WIPED OUT

EVERT CHAPMAN |ou may have your blank-faced cards on hand due to Relativity's Relative - so I will teach you this excellent card routine. You'll need one of those matching-back blanks. I'm also going to assume that you know certain basic/ standard moves like secretly reversing one card to bottom, double cut, color change, Tilt, double turnover, Bluff Pass; also used are the Lorayne Illogical Double Lift and a "sandwich toss." I'll briefly describe the latter two at the proper times. It would take too much space to describe the effect in detail; suffice it to say that much magic happens throughout - cards are magically "wiped" blank, they return, they change, get "sandwiched," and so on. Place the blank-faced card on top of the deck, and you're set to go.

that card is lost. Position check -- from top down: Blank, second selection, first selection, rest of deck. Flip the top card (blank) face up & leave it face up. Get a break under the top two cards and go into The Lorayne Illogical Double Lift, as you say to the first spectator -- "This is your card, the (name i t ) , but it's blank now. It will stay here on the table." My Illogical Double Lift, briefly: Start to turn the blank (two cards) face down with your right hand - as your left hand tilts the face down deck to the left to meet it. You're turning the deck face up onto the double card. (Fig. 1 - in progress.) Your left thumb grasps the double card - up against the deck and then deals it(?) onto the table. (Fig. 2.) A face-down card is dealt; it is, apparently, the blank card. Your left hand immediately returns to dealing position, the deck face down. All looks normal. Actually, it is the second selection that's tabled; the blank is on top, first selection is second from top.

To Perform: Shuffle, if you like, keeping the blank card on top. Flip the deck face up & either hand to hand spread or pressure fan to show the faces - careful not to flash the blank of course. Say that "any card in the deck can be made into a 'magic' card. I'll use two magic cards." Square. Then run through the cards with faces toward you, and remove a pair of blackmate picture cards - the two black jacks, for example. Don't show them; table them face down. "We'll use these in a moment, but first I need to have a card selected." Square the face-down deck. As you talk, double cut the top (blank) card to bottom - and secretly reverse it (turn it face u p ) . You can use a half pass, or the Christ Twist (see BEST OF FRIENDS, VOLUME I page 509/510). It can be done during an overhand shuffle, etc. Then, allow a free selection of a card and place it face up on top of the squared facedown deck. "Remember this card because something quite magical is about to happen to it." Do the standard color change wherein the bottom card is pushed into your right palm with your left fingers (side steal) and your right hand "wipes" across the face-up selected card. The palmed card is deposited onto the selected card and it appears as if you've wiped off the ink - leaving it blank. Make it look that way.

Double cut the top (blank) card to the bottom. "Remember these two cards?" Indicate the face-down black jacks; turn them face up. "They will do their magic now." Place one face up on top of the deck and the other face up to bottom. The bottom face-up jack is stepped to the left so that both jacks are visible. Do the standard "sandwich toss." I.e., say to the second spectator that his card is somewhere between the 2 black jacks. As you talk, your right hand takes the deck - fingertips are at bottom, contacting the face-up jack and the card above it (that's the blank). Your thumbtip rests on the top faceup jack. Toss, sharply, from right to left hand. If your right fingertips maintain slight pressure on the cards they're contacting your right hand will retain the two face-up jacks and the face-down blank between them.

Let this register, then do a double turnover -- apparently turning down only the blank card. Prepare for Tilt. (The top two cards are lifted at inner end; that separation is maintained.) Remove the top card (supposedly the blank card) and "lose" it to center deck via the inner end - really "tilting" it beneath the top card. Snap your fingers, then flip the top card face up - the blank has magically ("ambitiously") returned to the top. A beat, and then flip it face down again.

Table the deck face up with your left hand. Your right hand holds the 3-card sandwich (the jacks face up, center card face down). Ask spectator #2 to name his card. When he does, remove the face-down, sandwiched card (from between the face-up black jacks). Table the two face-up jacks, then snap the face-down card (gesture with it) over the tabled (supposed blank) card. Turn it face up - it's blank. Turn over the tabled card to display the second selection. The ink has magically traveled from the card in the hand to the card on the table.

Have another card selected and remembered. It is returned apparently to center deck, but really to second from top via the Bluff Pass. (Your left thumbtip riffles down at the outer left corner. When you're stopped, release the separation at your left thumbtip as your right hand, from above, lifts only one card. The selected card is placed onto the left-hand cards, your right hand places its card [apparently about half the deck] onto the selected card.) A riffle of the cards for effect, as you say that

Pick up the face-up deck; place the blank,

â&#x20AC;˘1341-

blank side up, onto it. At this moment, the 1st selection is at the bottom (rear) of the deck. Ask spectator #1 if he remembers the card that the blank card used to be (his selection). When he tells you (or as he tells y o u ) , do the same color change you did before - apparently wiping

JUAN TAMARIZ

the ink back onto the blank. It changes back to his card! Immediately spread the cards to show the faces - don't flash the blank, of course. Afterthoughts: Go over the routine with cards in hand - TT's good.

IMPOSSIBLE 3-ACE CHANGE

' t -- repeat, don't -- pass this by without trying it. It's an excellent piece of card magic. The basic effect is that the aces are "located," then three of them change to indifferent cards in an "impossible" way. The actual ending effect is up to you; learn the basic handling, then you'll see what I mean. The presentation and attitude will also be up to you.

ally under 3 cards.) The smoother way to do it, and I'll mention it just this once - it can be used each time, as you'll see (you may not even like i t ) , is this: Take the top card with your right hand, then your left thumb pushes off two cards (push one, then the flesh of your thumbtip pushes along the other). That right-hand card goes (outjogged) between those two cards. Square, and obtain the break. You're at the position shown in Figure 3.

For example; you can openly drop the aces onto the top of the deck after the completion of a 4-ace routine, or you can get them to the top secretly. I do it openly, then shuffle. One part of the shuffling is to do an out faro; that is, an ace remains on top. That's the way Juan does it; I prefer to do as follows: Shuffle, keeping the 4 aces on top. Then, cut a small packet from the top with your right hand. Faro this small right-hand packet into the center of the larger left-hand packet. (See Fig. 1.) Only the top four cards of the righthand packet have to interlace perfectly. Interlace the portions about an inch to an inch and a half. Then, your right hand moves its packet out with the cards it's "caught" (Fig. 2) and drops it on top of the left-hand cards. Square. You're in position. There's an ace on top, and at 3rd, 5th and 7th positions. You don't have to think of that at all - I ' m just giving you a checkpoint. (If I don't use the straddle faro, I prefer an in faro. That puts an indifferent card on top. I show top and bottom cards, losing them as I do. I'm set.) I usually do another overhand jog shuffle (and false cut), keeping the top 7 cards intact. Now, the basic handling "concept" - then I'll mention a smoother way. Your left thumb pushes off the top card, your right hand takes it. The left thumb pushes off the next card - the right hand slides its card under it, out jogging its card about half to 3/4 of an inch. And as your right hand grasps the two stepped cards, your left thumb pushes off the deck's (now) top card only enough to obtain a left little fingertip break under it. (Fig. 3 shows the exact situation at this instant.)

As your right hand moves to pick up the 2 stepped cards (really 3 cards), say, "Do you know what these two cards are? I don't." Take the cards with your right hand - your 1st and 2nd fingertips go into the break and slide outward a bit; your thumbtip is on top. Your left thumb pushes off the deck's top card and it is taken onto the right-hand cards - injogged. At the same time, get a left little fingertip break beneath the deck's (now) top card, as explained. (Fig. 5.) Or, do it the "smoother" way, also as explained. Whichever - the three stepped cards are held on the deck, a left little finger break beneath them. The break is actually under five cards. "I have no idea what these three cards are - do you?" Mumble something like that; it's "covering" patter, giving you "pause time," and also time to adjust, neaten, the cards, if need be.

Place the two stepped right-hand cards onto the deck so that the injogged upper (of the two) cards is flush with the deck - flush with the separated card. (Fig. 4; the break is actu-

Okay; your right hand takes the 3 stepped cards just as it took the 2 stepped cards before. Your left thumb pushes off the deck's top card - it's taken, injogged, onto the 3 righthand cards (actually, the 3 right-hand cards move under it and take it). And, as before, get a left little fingertip break beneath the (now) top card of the deck. (The same short sequence of moves is done 3 times.) The four(?) stepped cards are placed onto the deck; left little fingertip beneath them. (Fig. 6; that break is actually under 7 cards.) And as you complete this last step, do one of two things - do a squaring action at the inner end with the backs of your right fingers so that the innermost (top) card of the four visible stepped cards is definitely flush with the last "broken" card. â&#x20AC;˘1342â&#x20AC;˘

Or - as you place the stepped cards onto the deck, let the "broken" card project inward a "smidgin" farther than that upper/innermost stepped card. Either of these "maneuvers" is to assure that the inner end of that upper/innermost (indifferent) card doesn't protrude when you turn the stepped cards face up. This will all "clear" for you only if (& when) you try it.

Reach under the 4 stepped cards with your palm-up right hand and take them. Turn the hand inward, palm toward you, to gesture -- and to flash - the lowermost (outjogged) ace. Your fingers "shade" the 3 indifferent cards. (Fig. 12.) Make an appropriate remark, according to the ending you're about to use. Let's talk about endings. You can drop the four stepped cards onto the table. Turn the bottom outermost card (only ace) face up. Snap your fingers and turn up the other 3 cards to show that they've changed to indifferent cards. That's pretty mundane. You can very openly and cleanly pick up the three face-down (supposed) aces, deliberately place them to center deck. Square. Deal the three top cards face down onto the tabled face-up ace. Magical gesture - show that the three cards have changed to aces. I use it for an "in-hand" ambitious 3-card effect. When you take the four stepped cards with your right hand (after the "move"), take the outermost card with your left fingers and flip it (the only ace) face up onto the lefthand deck. Your right hand inserts the 3 stillstepped cards to center deck. Square - losing those three cards. Magical gesture - and show that the 3 aces have "jumped" back to the top, under the face-up aces!

All right, then. Say, "We still don't know what these cards are - wouldn't it be great if they were the aces!?" End the remark just as the cards are turned over to show the aces. Do it like this: The fingertips of your palm-up right hand move into the break and slide forward a bit, thumbtip is on top. Do a turnover of the entire (elongated) package. But start to injog the package as you do. It's done as you'd ordinarily do a multiple turnover. (Fig. 7; the turnover starting. Fig. 8 shows that turnover completed.)

You can do a standard follow-the-leader effect. One way: The 4 kings have to be set together - at about center; the aces are on top. Cut for the faro so that the kings are on top of the bottom half. Do an out faro (can't do a straddle faro here) so that an ace is on top. The aces and kings alternate. "Find" the aces just as taught. Then, turn the aces down and do the "move," as taught. Table the face-down stepped aces to your right (slightly). Deal the four top cards, singly (you can false shuffle first; up to you) onto the table, overlapping upward. Turn up the last (farthest from you) card - a king. Turn up the bottom (farthest from you) right-hand card, an ace. Switch the face-up king and ace. Magical gesture - follow the leader!

This is startling, particularly if your spectators really believe the aces were lost. But wait! Turn the stepped aces face down again. Your right fingers move under the entire block, apparently under only the four stepped aces. (Fig. 9.) You may want to injog the package a bit farther (when you turn it face up) to assure a "clean" pickup here. Again, only when you try it will you see what I mean. Turn the stepped cards face down â&#x20AC;&#x201D; this time, flush the inner ace with the deck's inner end; your left little finger is at that end. (Fig. 10 shows the turndown being completed. Note also that the left forefinger is "free" at the deck's outer end.)

Afterthoughts: I also like the effect of changing three indifferent cards to aces - to match one visible ace. Proceed as originally taught, straddle faro, etc. An ace is on top, the others alternate. Get rid of the 2nd-fromtop, the indifferent, card. Get rid of it any way you like. There are now two aces together on top, the other aces alternate. "Find" four cards as explained. Then, when you turn over the stepped cards you'll display one ace and 3 indifferent cards. Turn down the package, and do the "move." Table the 4 stepped cards; turn the bottom (farthest from you) card face up. That's the ace. Do some poker patter, magical gesture, and turn up the other three to display all four aces.

Your right hand holds loosely at the outermost ace. Your left forefingertip, out of sight under the package, reaches up to contact the outer end of the second ace - and pushes it, & the other cards, inward and flush. Your left little finger - at the inner end - acts as the "stop," so that no cards project there. (Look at Fig. 11 - it's a worm's eye view.) When you try this you'll see that when looking down at the backs of the cards - no movement whatsoever is seen; the four stepped cards (apparently the aces) remain as is. You've just "changed" three aces! (The change "happens" under cover of the stepped cards.)

Do the "move" properly and nothing is seen. Juan showed me (and contributed) another effect, done only with the aces, based on the same idea. It's called Captured Red/Black Aces, and it's a beauty. I'll run it in Apocalypse eventually. Check out my own To Catch An Ace #3, in REPUTATION-MAKERS (if you are lucky enough to own a copy - it's out of print). It's a concept I'm a bit proud of, and it has an interesting similarity to Impossible 3-Ace Change.

â&#x20AC;˘1343-

Out Tb Lunch no Longer snorkel in the beautiful waters of the Caribbean Sea, off the Caribbean islands. I used to. I've never really been at home in the water - never will be. But I did go through a few years of snorkeling. Once, Renee and I went out on a large catamaran to a snorkeling area -- it was somewhere off Trunk Bay Beach in the Virgin Islands — one of the most beautiful beaches in the world. I don't like cold water (although Caribbean water is warmer than most) — not even to drink! It takes me some time to get into my bathtub. I can't just dive into water; I envy those who can and do. I have to "get used" to it. It takes time. (The swimming pool in my Connecticut house was kept close to 90 degrees I still couldn't step right in!) What was embarrassing here was we anchored at the snorkel area. Everyone put on his or her mask, hose, flippers - and dove in. Everyone but me; I couldn't do it. About twenty people had to tread water and cajole me - then scream at me - to "come on"! Embarrassing. But that didn't make me quit snorkeling. Another time, we went snorkeling with a group and we were short one pair of flippers. I acted the gentleman and gave my pair to a girl. We went out — the leader was pulling along a large rubber tire onto which we all held. We were enjoying, everything was fine, until...the leader said, "Don't put your feet down here... whatever you do, do not put your feet down -there are sea urchins here." Of course, I had been doing fine up to now; the instant he said "don't put your feet down" mine turned to lead! They simply sank. And, of course, I kicked a sea urchin. Went into slight shock from the pain, had to be taken back to shore. And so on. That didn't make me quit snorkeling. Renee and I were vacationing at Caneel Bay Plantation (a Rockefeller resort) in St. John, Virgin Islands with Mel Brooks & Anne Bancroft; they also snorkeled in those days. Now, let me tell you about George. George was a baby barracuda who was often to be seen lazily swimming near the pier at Caneel Bay beach. He was sort of a pet, but you could see those evil, jutting lower teeth. We had always been told that there was no need to be afraid of barracuda in these waters. There had never been any problem. Well; my imagination works in strange ways. When I heard that, it immediately conjured up a picture in my mind of the manager of Caneel Bay Plantation talking to guests one hundred years from now; but the remark was just a bit different... "We've never had a problem with barracuda - well...once, about a hundred years ago, a guy named Harry Lorayne was eaten, but that was the only time..."!

continued from page 122k...

Anyway, we had also been told (during a nature lecture, with slides - the entertainment at this marvelous [really] vacation spot) that if ever you did encounter a barracuda while snorkeling, you had two choices. Either swim gently around him - no fast movements, no panic - and keep going, or — slowly turn around and swim back to shore. Okay; we're at Hawk's Nest, one of the 5 or 6 gorgeous beaches at Caneel Bay. Mel and Annie are snorkeling near some coral perhaps 200 feet out. Renee and I are sunning on the beach. Mel and Annie start to wave at me, signaling me to join them -- seems they've seen something interesting. So, 1 put on my snorkel stuff and start out toward them. About halfway there - suddenly - I see a large barracuda. Big enough to be George's grandfather! No time to make decisions really; you don't see him approaching — he is simply there... lower teeth jutting out menacingly and he's big; long, and perhaps as large around as my thigh. He's directly in front of me and I see him sideways the one visible eye following me. Oh; he knows I'm there, all right. And, he hovers threateningly — no movement except for his eye and a gentle wave of a fin. Well, I obviously chose the second of the two options. I wasn't about to swim around him; I wanted to get back to terra firma. I was well aware of the sensible idea of not panicking. I slowly, very slowly, started to turn around to go back to shore. I made it around about threequarters of the way. And then - panic set in! It's an involuntary thing...no way I could control it. My arms began to churn, and - as I think back - I visualize a cartoon character. When he wants to get out fast, he goes up in the air, his legs churn so fast they can't be seen, they create a blur - and when he touches down, he's off like a rocket. That's how I see myself, in retrospect, getting out of there! My arms and legs never before moved that fast — nor will they ever move that fast again. My legs moved so rapidly (panic causes amazing things) I literally ran on top of the water! Renee saw me comin' in...walking on water. As I touched down on the sand, she casually said, "You saw a barracuda, didn't you!?" Strange... people came running over to ask what had happened. I stammered - "I saw a barbarr-a barra-barracu..." They ran off to get their gear. I thought they were going to "rescue" Mel and Annie. No — they wanted to swim out to see the barracuda!

is published every month by Harry Lorayne, All checks are to be made payable to Harry Lorayne,

Me? That's when I quit snorkeling!

at: 62 Jane St., New York, N. Y. 1001k. and mailed to him at that address.

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Harry Lorayne's VOL. 10 NO. 5

$1.00

ISSUE NO. 113

MAY, 1987

pocalypse Harry Lorayne

|ince I got "into" card magic - that's over half a century ago! â&#x20AC;&#x201D; I wanted an easy, simple, imperceptible and casual looking, way to change a card as it was nonchalantly moved from one area of the working surface to another. When I was quite young, the best thing I found to accomplish that was Paul Curry's Turnover Change. That's why I made an issue over it when I wrote my first book on magic, CLOSE-UP CARD MAGIC (published in 1962, no matter what copyright date you'll see in current printings). I used it in many routines, made up my own handlings, and so on. As time went by, I devised other - easier for me - methods. (As just one example, see my

Scoop Change in REPUTATION-MAKERS.) Then, in BEST OF FRIENDS, VOLUME I, I ran Tom Mullica's The Future Change. That was, and is, closer to what I had been looking for. Tom uses it all the time; so do other cardmen. Some time ago, however, I came up with a method that's about as close to that perfect change as I think I'm going to get. If nothing else, its versatility, in my opinion, makes it very special. (And, let me get this off my mind right at the start. There may be a similar idea or two around - a Mario change comes to mind but they're only similar. And nothing similar has anywhere near the versatility of The Ultimate Move.) 113451

is held back by your thumb. (Fig. 5 is an attempt at a stop-action view, just as the "broken" card moves out.)

Let me teach you the basic move first; the casual moving of a tabled card from one position to another. The movement can be anywhere from two or three inches to twelve or so inches. It's according to the effect you're doing, according to the reason for the movement. Do this: Drop a face-down card onto your working surface (it does not have to be a close-up mat - this can be done on any surface), a long side toward you (it's- basically toward you; it doesn't have to be "right o n " ) . The deck is in your left hand (if you want to do the move with your right hand, change my instructions accordingly). The only way I can describe the get-ready is - the deck is face up in dealing position. Push off the top (face) card with your left thumb - push it off only enough to allow your left little fingertip to get under it as your thumb pulls it back. You have a break beneath the top card. Now, turn your hand palm down, the deck face down. The break is now above the bottom card. (Fig. 1.) Obviously, get ready with the deck face down. (Hold the face-down deck with your left palm on the top card, your thumb curled under the deck. Push out and pull back the bottom card with the thumb. The break is near the left end at the deck's outer long side.)

That's it; that's all there is to it, but oh - the versatility! You'd better practice it as just taught before we go into that "versatility." As the card is apparently moved from one position to another, skim the tabletop â&#x20AC;&#x201D; keep your hand (and the deck) on a horizontal plane. If your hand is too high above the tabletop air pressure may cause the (wrong) card to flip face up. As usual, this sort of thing will clear up after you try it only a few times. The original card moving inward past the deck (as in Figures 2 and 3) can't really be hidden from certain angles. If it is seen, it's all done and over too quickly to register. Don't try to hide it, particularly - just do the move. After a while you'll cut the movement of that card down to the minimum. How to use the move? Use it any time you want to switch in an indifferent face-down card for a face-down selected card - or vice versa. Perhaps a spectator on your right has just signed the face of his selected card. You get ready as he signs. The card is turned face down. As you talk ("Now you'll recognize your card"), casually move the card slightly to your left perhaps toward another spectator, as you ask him to "guard" that card. Practice this basic concept until you can do it with hardly any thought. It'll get easier and easier. Then - same situation; there's a face-down card on the table. Your break is above the bottom card of the deck, back of top card is against your left palm. You're going to do the same change, but no delay the card changes as it's turned face up. No signing this time, of course, unless the back of the tabled card is signed. Do exactly the same move but, this time, turn over (palm up) your left hand as you do it. (The hand turns instead of moving forward/left.) In appearance, you're simply turning the face-down card face up. (Fig. 6; immediately after the move. It happens too fast to be seen and, done properly, it looks exactly as if you've simply turned the face-down card face up. (The card is actually lightly "tossed" to your right.)

Now, the "basic" move: Your left hand approaches the tabled card and slides its thumb under that card. Your second fingertip resting at the far long side of the tabled card gives you the leverage you need. (Fig. 2, from your right side; Fig. 3, from your left side - each an exaggerated exposed view.) The inner long side of the single card has to move (toward you) past the deck. That's really the "key" to the move; it's what allows the "broken" card to move out easily and cleanly. I use the tabletop as the leverage - the base to help me move the card to position. Just push down onto the tabletop (you're pushing the tabled card's outer long side down against the tabletop); your left thumb can help by pulling back the card. You'll find the proper combination after a few tries. (Fig. 4; the original bottom card is still "broken.") From this position - in action, there's no perceptible pause - your hand moves forward and leftward as your second and third fingers open. (They open slightly; do what comes naturally.) This allows the "broken" card to fly (or fall) out onto the table as the original tabled card

Exactly this same action can be used to change a card as you turn it face down (from face-up position, of course). Hold the faceup deck as described. The lowermost card (it'd be the top card if the deck was face down) is "broken." Do the move, turning your left hand palm up as you do. It looks just as in the last illustration except that all is face down. And, although I don't use it that way, the move can be performed just as if you were doing The Turnover Change. All remains the same, just as taught, except for the way the tabled card -1346"

is turned. For example; the tabled card is face up and the deck is held as explained - the left palm on the top (back) of the deck. Pick up and turn the tabled card as for The Turnover Change. I.e., your thumb rests on the face of the card as your forefinger curls under it at its outer right corner. (Fig. 7.) Turn it over all the way, bringing it to "position," as in Figures 2 and 3. Then do the move as explained. (I don't do it this way because the pick-up I do use is much more natural looking.) So you see, you'll have to work out positioning - the way the deck has to face when the tabled card is face up or face down, and according to which way you want to do the move. When you can do the move with a single card, all the different ways, as taught, the following will be easy for you.

8 And all the "following" is - is doing exactly the same move but with more than one card at a time. For example; the two red threes have been displayed and are face down on the table, one on top of the other. The deck is in "ready" position, your left palm against the top card of the deck, the two black threes are at bottom of the deck and you have a left little fingertip break above them. Do The Ultimate Move just as taught! (Treat the two cards as one.) You'll see that it works the same way — and just as well — as you apparently move two cards from one position to another. Your left thumb holds the two originally tabled cards in place as the two originally broken cards are released. They will "come out" almost perfectly aligned. You may want to casually spread them a bit with the left fingers as they're tabled. You can change a pair of cards to another pair as you turn the face-up pair face down. Or you can change the pair as you turn the 2 cards face down from face-up position. The move works all ways for a pair as it does for one card! (I prefer the change when used as per my original concept - changing as a face-down card [or more than one card] is [are] moved from one position to another.) And, if it works for two cards - it works as well for three or four cards! You can change three selections to three indifferent cards then apparently lose the three selections into the deck. You can change three "wrong" cards to the three selections. I'll mention another way

to use a 3-card change in a moment. But - now you can have four cards indicated, then show that those four cards are the four aces. Just have the aces ready at bottom. The four indifferent cards are face down on the table. Casually move the four face-down cards to another position - changing them to the aces. You can change them as you turn them face up, as taught. Again, all ways taught for a single card work as well or better with four cards! There's an idea using The Turnover Change in CLOSE-UP CARD MAGIC. The idea is to change a face-up sandwiched (between two face-down cards) card by changing all three cards. This is a perfect illusion using The Ultimate Move. There's a face-up card between two face-down cards on the table. The 2nd-from-bottom card of the deck is reversed (face up) and you have your break above the three bottom cards. (Fig. 8.) Now, do The Ultimate Move as you turn over the 3 tabled cards. (This is as depicted in Figure 6, except that you've turned over 3 cards instead of one.) Spread the three (now) tabled cards. And a face-down card is seen between two face-up cards. The rationale is - you mention the faceup card (that's between the two face-down cards) and say, "Let's see which cards are surrounding it" (or anything to that effect). Do the move. All looks exactly as it should - but the originally sandwiched card has been changed. It is now reversed at 2nd-from-bottom position in the deck. Afterthoughts: Incidentally, I mentioned The Scoop Change out of REPUTATION-MAKERS at the start of this item. Just wanted to remind you that that book is out of print. I do, however, perform and teach the move on my video tape, along with The Ultra Move. ($69.50 plus $2.50 gets you your copy of the Stars Of Magic [Tannens] VHS or BETA tape. Order from me.) I've given no routine here. It's the move itself I want to record. As mentioned, there's a routine utilizing the change of a sandwiched card in CLOSE-UP CARD MAGIC; it is called, The Traveling Jewels. Look it up if you're interested. You can see that the move can be used not only as a delayed or instant change (revelation) of a single card - but as a force. The force card is at bottom. Any card is taken and tabled face down. Move it, doing The Ultimate Move - and you've forced the card. It can be forced by moving it face down (delayed), or by turning it face up - if you're doing an effect wherein it is okay for you to see the freely(?) selected card. I know you'll come up with your own routines using the move. You can, of course, change five indifferent cards to a royal flush - as part of a gambling demonstration, and on and on. I simply do not have the space to touch on all ways to use The Ultimate Move. It's amazingly utilitarian - and versatile. (I could have called it The Versatile Change.) Its uses are unlimited; learn it!

PUBLISHED, WRITTEN, EDITED:

Harry Lorayne

ILLUSTRATIONS:

Robert Lorayne

1347

MARK SICHER

THROUGH THE ROPE

Mark is a clever, up and coming young New York magician. I saw him fool a group of magicians with this one. In effect, a finger ring magically jumps onto a rope; everything is left for examination. The "gaff" is a pair of duplicate finger rings. Mark uses large size signet rings. (He uses one of them for another ringrope effect wherein the ring has to easily slip onto his third finger. That effect will also appear in Apocalypse eventually.) You need a length of rope â&#x20AC;&#x201D; about 28" is fine; it's not crucial. Experiment. What is crucial is that the ends of the rope are taped; you'll have to secretly thread the ring onto an end during performance. You have to be sitting at a table opposite your audience, and the end of the table is not too far from your right side. In other words, you're sitting near that right end. This will "clear" for you in a moment. When ready to perform, one ring is secretly placed onto your lap. Openly place the rope onto the table in front of you - horizontally (left/right) - about four or so inches from the table's edge. Its right end hangs off the table's right side/edge. The length of rope that "hangs over," again, isn't crucial - four-five inches is fine. Place the duplicate ring onto the table behind the rope; i.e., closer to you, between you and the rope. You can, of course, table the ring first, then the rope. (Look ahead to Figure 4, if you like.) You can simply grasp the ring from your lap to right-hand position if that's what you'd rather do, but Mark likes to let both hands be seen empty first. He uses Slydini's Imp Pass to accomplish that. He casually shows his right hand, holding it up to his right as he turns slightly right to look at it. He turns front as his right hand naturally lowers to rest at the table's edge - thumb and forefinger hanging off and behind that edge. A remark is made here ("A trick with a ring, a rope, and two hands") to cover the one-beat pause as your left hand (it has been resting in your lap) feeds the lapped ring to between your right thumbtip and forefingertip. (Imp Pass.) Immediately display your left hand just as you did your right hand; that is done as you end your remark. I have to leave the timing to you. It all looks quite natural.

hands move toward center (toward each other); the ring slides along with the right hand. Your attention is on the tabled visible ring and you are talking about the fact that it is off the rope. (Fig. 4.) Lift the rope, slightly, with both hands as you say that. Be sure your spectators are aware of that fact - the ring is not on the rope. Move the rope back (down) to position onto the table. Your left hand moves away as your loosely closed right hand (with duplicate ring on the rope) slides to center rope. It covers that center area â&#x20AC;&#x201D; it also covers the tabled ring. The rear part of your right palm is on the tabled ring. (Fig. 5.) Say, "Watch!" And smartly open your right hand without raising it from the tabletop. That "opening" just about automatically moves the rear part of the right hand slightly back toward you - enough to push the tabled ring off the table's edge and into your lap! (Fig. 6.) This is one move; your hand opens flat on the table - that's all. You'll see how beautifully it works when you try it. (Don't try it on an expensive, antique wooden table!) Pause for a beat or two. Then lift your right hand to let it be seen that the ring is on the rope. Push the rope forward toward your spectators with both hands - the hands are left and right of the ring; don't go near the ring. You're clean.

Your right hand gets the ring to position. That position is edgewise within the "curl" of your second finger. It's a grip I've used for a ring-on-wand effect for forty years. I explained it way back in The Phoenix, and also in REPUTATION-MAKERS. (Fig. 1 is a side view.) You can gesture with the hand, palm toward audience; the hand appears to be empty. (Fig. 2; audience view - the dotted line is the hidden ring.) All the above is the work of a few seconds. Talk about the visible, tabled ring. Look at it and/or indicate it with your left hand. As you do, your right hand casually moves to the right table edge and below that edge. Move the hand upward at the hanging rope end - and thread the ring onto the rope! This is easy because of the described grip. (Fig. 3 is an exposed view of the "threading" in progress.)

The rationale and "shade" for the right hand's movement is: Your left hand grasps the rope near its left end at the same time. Both

Afterthoughts: It's quite magical looking. As a matter of Fact - when done properly, the "penetration" of ring onto rope is startling. 11348

LARRY BECKER

"WILL THE CARDS MATCH"

seems as if one of our "creators" is thinking of including this effect in a book — as his. That's what I've been told. (It doesn't surprise me, or anyone. Larry refers to him as "The Thief of Hearts"!) Know ye 1 all that it is not his - not at all. Perhaps, and hopefully, this article will prevent that bit of grand larceny. And if it's too late to prevent it, at least it will let all know the truth. It also gives me the opportunity, with Larry's permission, to run it here. You have lucked out! If I had another cover in this issue, this would be a cover item.

next to it. You're set. Or, & though it is my idea - tear in half, table both packets, one face up! You're set. And, looks with some cards face up

I love this, even the 5-card packet one face down and I like the way it & some face down.

Okay; nitty-gritty time. Say that you will spell the phrase, Will The Cards Match one word at a time. Another one of my own touches, here. "Like this say I wanted to spell my name, Harry." Pick up one packet (the face-down packet, if you're using the one-packet-face-up idea) and demonstrate. Spell h-a-r-r-y, ducking one card from top to bottom for each letter. Replace the packet to table position. This is a nice subtlety - nothing changes! If your name doesn't spell with 5 letters, pick any 5-letter word ("magic"?) as the "demonstrator."

The source is Howard Adams' The Ramasee Prophecy; Volume 10, pgs 12/13 of his OICUFESP (1982). Larry added the meaningful words, "Will the cards match." He has the effect in his 1984 lecture notes under the name, Duck Dupe (remember his "Duck-Too" in the February, 1979 issue of Apocalypse?) — using two sets of ESP cards. And again in a later set of notes(Mind Openers) with jumbo cards as a stand-up routine called, Upper And Aloha.

Continue: "We'll spell each word that way, but — I'll give you every choice as to which packet to spell each letter from. Let's spell 'will.' From which packet shall I spell the w?" Pick up the indicated packet and duck the top card, spelling "w." Ask with which packet to continue. If he says the same one, duck another card, spelling " i . " If he indicates the other packet, table the in-hand packet, pick up the other, duck the top card, spelling " 1 . "

I love it as an impromptu close-up routine. I originally saw it done with 5 sets of mates i.e., 2 red kings, 2 black 6's, 2 black 10's, 2 red 8's, 2 black jacks; 10 cards. I added what I thought was an original (and terrific) touch. I used any 5 cards and tore them in half — I did the routine with half cards. It not only makes a lot of sense, it also makes it more impromptu. But - Larry tells me that Howard Adams mentioned tearing in half in his original piece. Oh, well...

The beauty of this is that it doesn't matter. You can spell the w and i from one packet and the 1 and 1 from the other. Or the w, i, 1 from one, and the 1 from the other or the other way around for either, or alternatingly or all from one packet. Follow his choices religiously and make sure he's aware of that fact.

Anyway, that's how I'll teach it. (Understand that this is a quick last minute write-up and insertion for the reason in the first sentence - I just want to "get it in" so that the proper credit is established.) Once you know it you'll come up with your own presentation - although it "ain't bad" exactly as taught here. Also note the follow-up in my Afterthoughts. Any 5 cards are used (from a deck you do not mind destroying). Let your spectator mix them, then take them, show them, mix 'em some more, then square them into a face-down packet; tear the packet in half. Now, one packet must be in reverse order to the other. There are a few subtle ways to do this. The most obvious is to drop one face-down packet onto the table and, as you say, "There are 5 cards in each group," deal/count the remaining 5 cards onto the table alongside the first packet. This reverses the order, and you're set.

When the word has been spelled, take the top card of each packet, using your hands simultaneously, put the two half cards together and, as you say, "We end up with these two because of the way you wanted the spelling done" and drop them above (forward, north, of) and to the left of the two packets. (Fig. 1, if you're using a face-up packet.)

But, the 10-card packet of half cards may be complete cut as often as desired. You may want to do that &/or Charlier shuffle the packet. That is, push a few top cards from left to right hand. Then some bottom left-hand cards onto the right-hand cards, then some top lefthand cards under the right-hand cards. Continue that way until all the half cards are in your right hand. It's an excellent false shuffle the end result is that the packet has been cut, that's all.

Do exactly the same thing with the word, "the," using the two (now) 4-card packets. Take the top cards and drop them, together, to the right of the first pair. Spell "cards" using the 3-card packets. The more "jumping" back and forth the spectator makes you do, the stronger and more baffling the outcome. Repeat with the word "match" with the remaining 2-card packets. You'll have 2 half cards near you and four pairs above those two.

You can do that and then deal the top five half cards, one at a time, into a face-down tabled packet; drop the remaining 5-card packet

cards 1

1349-

"Well, we've asked the question, 'Will the match?' Let's see the answer. Turn over

the two (remaining) cards near you or only the face-down card if one is already face up. They will match! They're the two halves of the same card. "The answer seems to be - the cards will match!" Let this sink in; it's strong. But now for the killer. Turn up the other 4 pairs they're all matching pairs!

count for him. Count aloud as you reverse count from left to right hand. Stop when there's only one card remaining in your left hand (at " 9 " ) . "Did you remember one card? Good." As you talk, casually drop the right-hand cards onto the one left-hand card. You've thrown one card out of sync, which is what makes this work.

Afterthoughts: It's automatic, if you've "set" the cards is taught. Some have changed the words (any four words with 4-3-5-5 letters will work), but I like it as is. It's a lovely piece of magic. There is a simple formula which enables you to use any number of pairs. No room for that here; I may run it in the near future as an Apocalypse Variation Or Addition. And -if your name spells with four letters, it can be used as the spelling example. Simply say, "I'm going to spell like this, as you duck the top card. Then, "For example, 'John...'" and duckspell "John."

At this point, in the original, the cards are cut into two packets and turned face up simultaneously. Each spectator shouts "stop" when he sees his card. They shout stop at the same time, etc. I'd rather a "real match" ending. Take the mixed packet and hold five half cards in each hand manage to have five different half cards in each hand. Fan one group face to one spectator, then the other group toward the second spectator. "If you see your card here (of course each will see 'his' card), take it out. Hold it face down." Drop all other cards and take a "thought-of" (face-down) half card in each hand. Hold them torn edge to torn edge. "Interesting - the tears match." Build it up however you like, and finally â&#x20AC;&#x201D; turn the two halves face up to show the perfect match!

Jack Mitzman does an interesting follow-up. He does Smyth's Myth with the ten shuffled half cards! You don't know it!? Oh well, basically: Let a spectator mix the ten half cards - then tell him to take a small batch & give the larger batch to another person. (This works with any numbers except 5 and 5; that's why you use the "small/large" idea.) Stress that you could not know how many cards each holds. (True.) Now tell each to count, under the table, and remember how many he has. Have them put the 2 groups of cards together; let one spectator shuffle.

Use the follow-up, or don't - up to you. You can use business cards. Collect cards from five different people - try to get cards that look the same in color, size and texture. Let each person sign his name across the blank side. Tear in half and do the routine, spelling WILL THE NAMES MATCH"! In an emergency, you can use $1 bills. Tear in half and spell Will The Bills Match." (There's a serial number on each half.) This basic will-the-cards-match idea is worth more than you paid for your Apocalypse subscription! Yes?

Hold the packet face up; tell one spectator to remember the card at his number as you

DR. RAJNEESH MADHOK

THE UNCANNY PENETRATING FINGER RING to the ring - then place one band loop over the right forefingertip and the other loop over the right thumbtip. The stone should point to your left. (Fig. 1 shows how the rubberband looks after it's threaded. Visualize your right forefingertip entering the upper loop from the right and the right thumbtip entering the lower loop the same way.) Open the two fingers, stretching the band.

In Tarbell #7, I included The Uncanny Penetrating Rubberbands (page 214). It's very good. Dennis Marks, Bob Jardine, and others, use it often, do it well, and are remembered for it. David Copperfield did it on a TV special and of course many magicians were fooled. They forgot that I'd taught it in print. (David told me that the band penetration was the "hit" of that special. )

Grasp the ring with your left fingers and pull it to the left (your right hand pulls the loops to the right and toward you) to show that the ring is securely "locked" on the band. Most magicians who use the 2-rubberband effect like to do this "stretch display" once or twice before actually doing the "penetration." It's as you do that first or second "stretch" that the "work" is done. Rajneesh was "fiddling" with it and discovered that it works just beautifully when a finger ring is used in place of one of the rubberbands. And, it's an almost visual penetration - the borrowed ring seems to suddenly melt through the two strands of a rubberband. There have been (lately) a few methods around for apparently linking a ring onto a rubberband; this looks better than most of them, and it can be used in conjunction with one of them. I won't say which size rubberband is best because there is no "best." Experiment.

Your attention is on the ring/left hand. Your right second fingertip moves against your forefingertip (they're side by side), trapping the rubberband strand. This occurs as the right thumbtip and forefingertip approach each other during the "stretch display." That action of the second fingertip trapping the rubberband strand is actually the "get-ready" for the move, and it's a perfectly natural action. Remember; your attention is on your left hand. (Fig. 2 depicts the action pretty clearly. The right third and fourth fingers have been curled out of the way for clarity's sake. In performance, they may remain alongside the other fingers that may give you added "pinching" pressure. It

Borrow a ring, preferably one with a stone. Let one end (loop) of the rubberband thread in1350"

[the arrow] also shows how the fleshy pad of the forefingertip moves to contact the thumbtip's fleshy pad. That forefingertip will move directly toward the thumbtip; it does not cross either rubberband strand coming from the right thumbtip.) Note also that during the stretch display your left hand turns outward bringing its palm toward you. This effectively twists the ring around a small section of double strand and also brings the opening of the ring toward you. It's just a better display. (See Afterthoughts.)

Now, the "move": As your right hand starts to move toward the ring, your thumb and forefinger quickly separate (open) as, at precisely the same time, the "pinched" (original) forefinger loop is released from between your forefingertip and second fingertip. Study Figure 3; visualize the 2nd fingertip letting go of its loop and the thumb and forefinger opening - and you'll be able to visualize the "penetration." Then, do it - and you'll actually see the penetration. What happens is that the band instantly expands back to its original starting position, stretched between your right thumbtip and forefingertip - while your left hand holds the "escaped" ring between thumbtip and forefingertip. (Fig. 4.) Note that the ring's opening is now up/down instead of facing you. That's because, just after the Figure-3 situation, as the move is executed, your left hand twists toward you. (See Afterthoughts.) As soon as the ring has penetrated - as in Figure 4 - rotate your left hand outward (toward palm-up position) to better display the ring. Afterthoughts: Easy to do - difficult to explain. The way the left hand twists or turns the ring can add to the effect , but I found it difficult to teach it in print. It's really a "feel" kind of thing, but let me try again. As you stretch display each time (not usually more than once or twice) your left hand rotates away from you - palm up - while your right hand rotates toward you, palm down. Don't let this confuse you; remember, you will do what comes naturally, anyway. Ideally, in Figure 3, the ring should have been depicted opening up/down, but that would have made it impossible to show how the band loops around the ring's edge.

Okay; during the stretch display just prior to the penetration, your right forefingertip pad contacts your right thumbtip pad practically (or actually) within the thumbtip-end rubberband loop. Your second fingertip will just about automatically be either in the forefingerend loop or alongside it. Either way is fine; that loop end is being held in position until the instant of the move. (Fig. 3. Right thumbtip and foref ingertip have just made contact. The illustration is a "compromise" for the second fingertip's position. It tries to show that fingertip between "in and alongside" that loop. The left hand is removed so that the band's position around the ring is clear.) Note that the forefingertip is now in the thumbtip loop - and that's the "key."

This twisting back and forth is not necessary but it does aid in bringing the rubberband loop over the right thumbtip and forefingertip correctly. (And you can come to get-ready position each time you stretch display.) The proper handling is to do the just-described twist during each stretch display. Then, your left hand twists back the other way â&#x20AC;&#x201D; back to original position -- just as the ring escapes. It looks as if you're "ripping" the ring off the rubberband. This will all "clear" for you only as you try it. That twisting to and fro also helps to focus attention on your left hand, away from your right hand as it does the "move" - and it makes the entire "penetration" more visual. And obviously, do the "release" when your left hand is applying its greatest pull to the left. The handling "pieces" will fall into place as you try the thing over and over. And you should try it over and over (you'll "have" it in no time), because it's awfully good!

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

Randy Wakeman - Spectator On Stage John V. Hope - Trouser Pocket Topit Edward Mario - An Updated Force Steve Draun - Challenge Spectator Peek Michael Rubinstein - Reverse Double Click Pass Three-Beat Click Pass J. C. Doty - Faces Minus One Steven Cohen - In Any Case Randy Tanner - Triumphant False Shuffle - and more

1351

J. K. HARTMAN

OUT OF BOUNDS

knew that Carl Mellish's Banded-Or Not would elicit variations; Jerry's is the first to reach me. It's excellent; so is the "touch" of showing the rubber band "really" wrapped at the packet's underside. As you'll see, Jerry likes to use the "elastic Power" secretly. I, frankly, prefer the open "flight" of the card that's part of the effect. But that's a matter of personal preference. I love the idea of showing that the band really(?) encircles the entire packet. It would be better, of course, if you were familiar with Banded - Or Not. I will let Jerry tell you about his variation:

ment during the entire sequence that you are using the rubber band to make it difficult for any other card to get into that small packet. Hold the packet momentarily with the right hand from above so that the left can re-take it at the inner left corner, gripping firmly to prevent the top card from moving. Pick up the deck with the right hand and perform a wide face-down one-hand fan. Ask your spectators whether it would be a good trick for the selected card to magically leave the deck and join the small packet. Whatever the answer, say that you are going to accomplish just the opposite. Rest the packet against the tabletop with the left hand. Rest the right-hand fan a few inches to the right of the packet. Let your right hand make firm contact with the table. (A look at Fig. 3 will "clear" this for you.)

Carl Mellish's rubber band ideas in the October, 1986 Apocalypse (page 1261) are clever. An embellishment of one is described below as an "addition or variation" which might be of interest. My own rubber band efforts have always used "elastic power" secretly, not openly, and this thought is incorporated in the following as is a little sequence which, with no extra trouble, allows the packet to be shown to be banded on both back and face. Have a card selected and returned; control it to second from bottom of the deck. Turn the deck face up. Double lift two as one, then deal off seven or eight cards, one at a time, on top of the double - asking the spectator to verify that his card is not among them. Deposit the deck face down and take the packet face down in the left hand, obtaining a break below the top (selected) card. Pick up the rubber band and begin to encircle the packet as described on page 1262, starting at the outer end via the outer right corner. In this case, engage the band with the tip of the left forefinger which hooks in a bit to retain the band in a centralized position. (Fig. 1. HL: Keep the band hooked on that forefingertip.)

Deliberately slide the packet under the fan and immediately withdraw it, but - in the process, relax the grip of the left hand to activate the selected card. At the same time, as the packet is withdrawn, press down firmly with the flared edges of the fan to brush against the top of the packet, dragging the dislodged selection from the packet and trapping it under the fan.

Apparently complete the encircling process, actually pulling down below the break with the left little finger and feeding the band into the break to wrap around the top card only. Now arch the right hand over the packet and slide it forward (or move the le'ft hand inward), the left forefinger continuing to engage the band. Stop when the tip of this finger is about, more or less, at the center point of the bottom card.

As this sequence is executed, say, "In this case, the rubber band..." Pause here - the band has vanished from the packet. That, in itself, is an impressive climax. Continuing - "...finds your card!" Lift the fan, actually drawing it inward and to the right, to reveal the single banded card - generally at an angle which makes it appear all the more to have come from the fan. Ask the name of the selection, then use the edge of the fan to flip it face up.

Curling the left forefinger to the extent possible, casually turn the hand palm down to flash the face of the packet. The clenched left fingers hide the inner half, and the forefinger retains the band in position which makes it indeed appear to encircle the entire packet. (See Fig. 2. HL: It does indeed look as if the band goes around the entire packet. This is good.)

Afterthoughts (HL): There isn't anything I can, or would want to, add to this. (Except, of course, to repeat that I like to do the thing as originally described in the October, '86 issue of Apocalypse. I now, however, use Jerry's idea of flashing the packet's underside.) What I have done is to occasionally use my own The Lorayne Force to show that the selected card is not among the few cards that make up the vital packet. I used the idea of hiding a card and loading it back to top via The Lorayne Force many years ago in an effect called, Leap Frog, in PERSONAL SECRETS. I taught the force, originally, in CLOSE-UP CARD MAGIC; also in BEST OF FRIENDS, VOLUME I. Since I've never taught it in Apocalypse, and to keep this complete, here briefly, as used to hide/load the selected card:

Turn the left hand palm up, allowing the band to escape from the left forefingertip. Com-

Control the selected card to the top. Cut off a small packet and turn it face up. Hold 1352-

the face-up packet near its inner right area with your right hand as your left fingers start to spread/fan the cards to the right - working from the packet's outer left corner. Your right fingertips hold the rear (selected) card stationary as the cards fan. (It's the side of my right forefinger that holds that card in place.) This, effectively, keeps that card hidden behind the fan. (Fig. 4 shows the fanning/spreading in progress. Fig. 5 is a worm's eye view showing the position of the hidden card.) Complete the fanning process, making it as obvious as possible that you're showing all the cards. (Fig. 6.) The selected card isn't "there," of course. Make sure your spectator verifies that, and so on. Now, hold the face-outward fan at the right fingertips - your thumbtip covers the area at which a corner of the hidden card may show -and place the fan at right angle onto your left palm. (Fig. 7.) Pause for a beat, then relax your right fingers to let the fan close onto your left palm; flip the packet face down as it reaches "closed" condition. This (if I may say so myself) is a very clean and convincing way to hide/return the selected card. Go from there. (Check BEST OF FRIENDS, VOLUME I for a detailed description of The Lorayne Force.)

BRUCE BERKOWITZ

THREE TO 60

The basic idea is that three coins (half dollars) disappear one at a time then come back one at a time; no lapping, sleeving, gimmicks. The routine can be done standing and in a bathing suit - if that is your wont. You need three half dollars. Now; this isn't the easiest routine to learn, nor is it the most difficult. It utilizes David Roth's "And They Both Go Across" which originally appeared in Apocalypse - January, 1981 issue. (All the good things appear here first.) The routine is excellent magic in Bruce's hands.

Okay - do any toss or placement of the 3 coins from right to left hand that really (and secretly) leaves one coin in right-hand Classic Palm; only 2 coins are in your closed left hand. I, personally, use the "friction toss." The 3 coins are stacked at fingertip rest position on your curled right 2nd and 3rd fingertips. Toss into your left hand; one coin remains on your right fingertips. (See Kevin Moran's It's All An Illusion - Apocalypse; May, 1986.) It's easy to bring that coin up into Classic Palm. Hold your back-to-you left fist up near chest level. Your open right hand (one coin is Classic Palmed) is back to audience. Do your magical gesture toward your left hand with your open right hand, move your hands down to "normal" position - and open your left hand to show that there are only two coins there. Pick up one of those coins with your right fingers and maneuver the remaining coin to your left fingertips. Clink the coins against each other two or three times. (Fig. 1.) The above-mentioned David Roth effect is used to cause the second coin to disappear. It was not originally a coin "vanish" really, so it's slightly different in handling here.

Briefly: From Figure-1 position, pretend place the right-hand coin into your left hand; the left-hand coin is still at your fingertips. Use a retention "pass" that leaves the coin at right-hand fingertip rest. Close your left 2nd, 3rd and 4th fingers as if holding the coin. And turn the fist fingers up. (Fig. 2; just after the pretend placement.) Take the visible lefthand coin with your right fingers - all three coins are in your right hand at this moment. (Look at Fig. 3.) Toss the visible coin from right to left hand; the coin is tossed in a slight arc, and should travel about five/six inches. Your left

'1353"

fingers open only enough to catch the coin - it is an instant open/close. And, almost as you toss -- release the right-hand Classic-Palmed coin so that it falls onto the coin on your fingertips - causing an audible clink! The timing of the clink is important -- it's also almost automatic. I release almost as I toss; immediately after, really. Your spectators see and hear this coin join the first(?) coin! Check the January, 1981 issue for a detailed description of the toss and the retention pass. Move your hands to the same "vanish" position as before - your right hand Classic Palms both its coins as it moves, as noiselessly as possible; any noise here is covered by the left hand's movement. Do your "vanishing" gesture, move your hands to "normal" position, and open your left hand to show only one coin - the 2nd coin is gone. The handling of the third coin is strange - it disappears and re-appears at almost the same time, but it "plays" well.

This next move is pretty, and it's imperceptible. As your right hand takes the visible coin from your left fingertips — it secretly drops one of its hidden coins into your left hand. It won't be easy to describe, but I'll try. Your left hand remains stationary; your right hand moves up to take the visible coin in such a way that the right-hand finger-palmed coin moves behind your left fingers; it actually rests against the backs of those fingers. As your right hand takes the visible coin from the left fingertips, the right-hand Classic-Palmed coin can easily be dropped into your left hand. It is almost gently tossed as your right hand reaches position. It will take a try or three. (Fig. 4 -- the instant immediately after that "drop." In performance, your right hand would already be moving away -- to the right — with the visible coin.) All right; your right hand moves away with the coin it just took from your left fingertips.. Bring your attention back to your left hand, which turns palm down as your left thumb moves under the finger-palmed coin - and "magically" brings it into view. (Fig. 5.) Or, if you prefer, just "produce" it at your left fingertips. Whichever way you bring it into view - let it drop onto your left palm after it's produced. Toss the visible right-hand coin onto your left palm to join that coin. Bounce both coins once or twice (to display them), then Shuttle Pass them onto your right palm. I.e., apparently toss both coins from left to right hand — really retain one in left-hand finger palm as the other one joins the right-hand coin. Your right hand turns palm up to catch the coin, of course. And again, bring attention to your left hand - as it produces the third coin.

Maneuver that last coin to French Drop position at your left fingertips. Do the French Drop (pretend to take it with your right hand, it really falls to left-hand finger palm). Your left hand moves down to relaxed position over the tabletop as your closed right hand (2 coins Classic Palmed) moves toward "vanish" position, fingers toward audience. Make crumbling motions with your right fist and start to open it - but don't make any noise and don't flash silver. At this moment, let the hidden left-hand coin fall to the table "by accident." Say, "Oops; it came back." (You can, if you'd rather, simply show it in your left hand. ) As attention shifts to that coin, turn your right fist fingers down to normal position and let the outermost ClassicPalmed coin fall down into finger palm. Your right hand keeps moving, picks up the one visible coin and places it to your left fingertips.

STEVEN SCHNEIDERMAN

Finally, stack the three coins to French Drop position at the fingertips of one hand. Take(?) the coins with the other hand and "hand" them to your spectator. As you open that hand no coins - let the coins spill out of your other hand, onto the table. End. Afterthoughts: It's a good routine. And, although both hands are never really and cleanly shown to be empty, that "emptiness" is subliminally impressed in the minds of the viewers. The one-at-a-time reproduction of the 3 coins can be used as an opening production sequence if you start with two coins in right-hand Classic Palm and the other in left-hand finger palm. Your left hand produces the first coin, let one Classic-Palmed coin fall to right-hand finger palm - etc. When you've produced all three - go into Three To Go.

SPREAD/WAVE CHANGE/PRODUCTION

I've had this idea (from Steven) on file for much over a year now. I think the concept is very good, and I think it's worth playing with - and knowing.

deck the other way - over those three cards. The end result is that those three slightlyspread bottom cards are concealed beneath the "main" ribbon spread.

It started when Steven was trying to find a way to hide the top three cards of the deck as he did a face-up table ribbon spread. His solution was (and is) a simple and obvious one. Holding the deck from above, start a table ribbon spread — spreading only the three bottom cards. Then immediately spread the rest of the

The next thought that occurred: He separated the 52 cards into reds and blacks. Now, do a face-up table ribbon spread, spreading only the lower half deck. You want only one color (say the reds - if they were originally on top) to show. It appears as if all the cards are red. (Except the face card - original bottom card of •1354-

Fig. 1 - the hand has been removed; this should "clear" the idea for you.) Only backs are seen, and the idea is to make it seem as if you have spread all the cards, the entire deck.

the deck. I'll talk about that in a moment.) Your right hand is still on the right end of the spread. Slowly spread the upper (unspread) half deck back the other way (right to left). Do it as if you're doing a magical gesture - a magical wave of your hand. And, it appears as if the red cards are all changing to black cards! That's the concept I'm talking about.

To "magically" produce the aces, ribbon spread the remaining (upper, unspread) half in the opposite direction, back over the alreadyspread cards. The aces appear, slowly and face up. (Fig. 2.) Yes; it seems obvious -- but it can be startling.

Of course, if you performed this spread/ change, you'd move one red card to the bottom before starting. Then, if that card flashes under your right hand, only red is seen. Steven palms off that one red card as he completes the right-to-left spread. It's an interesting color change idea - it has many applications. Here's one of them: This can be made to look quite pretty and magical. In Steven's original contribution, the four aces magically appeared face down within a face-up ribbon spread. And, he set the face-up aces every sixth card. This is all right; it works just fine. But both Ken Krenzel and I prefer to have the aces appear face up. That way, as you'll see, the other cards in the spread do not appear to be changing (because they're face down). And, we prefer to set the aces every fourth card - this affords a bit more "spreading leeway." So, holding the deck face down - set the face-up aces 4th, 8th, 12th and 16th from top. Whether you do this before performance, or during performance (via a couple of faro shuffles, perhaps) must be left to you.

Afterthoughts: It's what I put into the "pathway" category; it's an idea to think about and, as I said at the start - a concept worth playing with, and knowing. It can be used to apparently change face-up cards to face-down cards, and vice versa; or to cause some selected cards to magically appear. Etc. Remember; the reverse spread of the upper half over the lower half should look - as much as possible like a "magical wave;" not as if you're spreading more cards.

Do a fairly wide face-down table ribbon spread; spread only the lower half deck. (See

It will be interesting to see the variations that I know are forthcoming.

Ellipses (...) Hate-When-It-Happens Dept: But it does happen occasionally. I hate it when an item I run in Apocalypse is the same as something that has already been in print. I ran Pivot To The Limit (Mike Maxwell) in the December, 1986 issue. (I'd had it on file for years.) I ran it because Mike told me it was his handling of a Bruce Cervon routine. I mentioned that at the top of the article (page 1294). Also ran it because it's a very good close-up card effect. Well; I received a letter from Bruce. A nice letter, telling me he's a fan of my stuff, and so on. But - he was upset over the above-mentioned item. He wrote, "If you will check the little book I wrote in 1976, The Real Work (I still have some at $10.00 each), on page 41 you will find Now Find My Card. This is exactly the effect and method as detailed in the Apocalypse issue." He goes on to tell me that he doesn't mind variations that add another angle, but when it's exact... Well; I checked. Bruce is right - the effect and method are exactly the same. I know that Mike wasn't aware of this, but apologies are hereby extended to Bruce â&#x20AC;&#x201D; along with kudos for devising an excellent card effect. He may contribute an item soon.

*** Another "credit" item: Jim Patton's A-Foldable ran in the January, 1987 issue. Jim would like it known that he was inspired by a Father Cyprian idea. And, coincidentally, Bruce Cervon suggests that it isn't always necessary to load the pre-folded card. He likes to fold the card in half while it's in the deck - at his leisure, whenever he can. Then, no loading is necessary because the card is already there.

*** Meir Yedid's CARD ANIMATIONS (the book I wrote for him) is doing quite well. As it should. It contains some awfully good, and different card stuff. Pick up a copy...it is available directly from Meir, or from your favorite dealer.

*** â&#x20AC;˘1355-

It's amazing to me what interests some people. I started mentioning the few (very few) people who have shafted me (not paid money owed) through the years - as a joke. (Although the names are legitimate.) It received quite a response... letters, telephone calls, knocks, boosts, etc. It became sort of a running gag, and every time I mention Jolly Ericson (Sweden) and Dieter Macho (West Germany)... the two non-payers... I get interesting mail. Well, I'll make some people happier...I'11 mention a "moocher" I overlooked. (Might as well keep it complete.) A fan who said send the stuff airmail, he'd send whatever it cost by return mail. I did - he didn't. It was in February, 1983...I'm still waiting for the big $35 from Jean Font of Beziers, France. *** Joseph Gabriel (and Lucy) doing very well with his magic act...in Las Vegas, on The Tonight Show, and sq on. He's still using the to silk idea from Apocalypse, for which he drew the pictures (that's when he learned it). Joey did the Apocalypse illustrations for three years. He's a "sweetheart" â&#x20AC;&#x201D; and I'm pleased and happy for him...I know that this is what he's been working toward for a long time. *** Even the New York Times rips me off! Or allows it. An article about memory, titled The Game Of The Name, appeared in that newspaper on November 29, 1986. That's the exact title of one of the chapters in my book, REMEMBERING PEOPLE (1975). Well...the truth is, it is kind of obvious. *** THE MIRACLES OF DAVID REGAL is "getting there." I got side tracked a bit in order to get out my (Tannens - Stars Of Magic) video tape. That, incidentally, is available directly from me for $69.50 plus $2.50 to cover postage/handling. That's in the U.S.A. only. (Don't forget to mention whether you need VHS or BETA format.) Anyway, I'm back on the track with David's book...it is definitely worth waiting for. And $29.95 will probably be the price...less than fifty cents per routine! (You'll be the first to know when it's available.) Reminds me of a funny (excerpt from a letter) from David (when I was away from New York City for a while). "We missed you at the cafeteria last week. (Where the New York City fellows get together on Saturdays.) The guys had prepared a special "tribute to Harry Lorayne" in which we all stood up, shouted out our own names one at a time, and sat. It was very dramatic. We hit a snag when an elderly man no one had seen before couldn't remember his name. (He did, however, perform an invisible pass.) The proprietor had a chopped liver mold in the shape of your head on a large platter. Sadly, before it was wheeled in â&#x20AC;&#x201D; a large man with the initials KF leapt upon it and violently spread it on a Ritz cracker. "All told, it was a day of excitement." *** I wanted to use a computer method of typesetting THE MIRACLES OF DAVID REGAL. I'm not a computer person...I don't quite understand them. (Haven't really taken the time to try.) Well; I went through some frustrating experiences with it...entire sections, hours of time, not going onto the disk, doing it over - losing it again at the last minute, and what-have-you. That computer came very close to an open window more than once! Finally realized that one of the computer's disk drives wasn't functioning properly. All is now fixed...don't worry! *** The letters I get pertaining to Apocalypse please me and sure do feed my ego. A recent one is from a new subscriber who has received only three issues so far. He writes that, as far as he's concerned, those issues are each "worth a full year" - one issue made 1986 worthwhile... retroactive, I guess... another "took care" of 1987 and, even if he didn't get one Apocalypse in 1988, he feels that the last issue he did receive "covers" it - he's already gotten three years of his money's worth! If you're reading this right now - and you're not a subscriber - don't you think it's time you sent in your subscription fee? Check the subscription box...and do it now.

/s published every month by Harry Lorayne, at: 62 Jane St., New York, N. Y. 1001k. All checks are to be made payable to Harry Lorayne, and mailed to him at that address. Individual issues - $U.OO each Overseas subscription - $46.50 surface mail Subscription - $k0.00 per year (U.S.A. dollars only) - $5b.5O air mail All back issues - $b.00 each, plus pstg. $57.50 airmail to Australia, Japan, So. Africa, etc. Canada & Mexico - $U5.50 surface mail.

13561

Lofayne's VOL. 10 NO. 6

$4.00

JUNE, 1987

ISSUE NO. 114

RANDY WAKEMAN

SPECTATOR ON STAGE

landy's book, Formula One Close-Up (written by John Mendoza), contains a version of this routine. In my Ellipses)...) column of the September, 1986 Apocalypse, I panned that version a bit because of the way it was built up in the book. The strong point of the routine, however, is that the spectator himself turns up the four aces at the end. (I neglected to mention that in the column; I did not neglect to say that the book contains excellent card routines - and it does, and it should be in your library.) Anyway, he contributed this version, which I like much better. I use it. So will you. 113571

The aces have to be (secretly) set this way: Two on top, one on bottom, the remaining ace third from bottom - i.e., one indifferent card is between the two bottom aces. Get all four aces to the top. Then, when ready to perform, casually do one short "milk" shuffle. (If you look ahead to Figure 6, you'll see what I mean.) That is, in overhand-shuffle action, the left fingers and thumb take the top and bottom cards of the deck; your right hand drops the deck onto those two cards. Then, run one (top) card; drop the deck onto it. You're in position. (Double cutting the top card to the bottom accomplishes the same thing as running that top card - it gets it to bottom.) As you "toy" with the deck, cut the top 10 or so cards with your right hand as your left thumb holds back the top card - in other words, do an in-hand slip cut. (Fig. 1.) Put the small right-hand packet back on top; hold a left little fingertip break under it. What follows is the "demonstration cut" (a Harry Riser idea). Say, "I'd like you to cut a small packet of cards off the top of the deck -- oh, say about ten or twelve cards - like this." Demonstrate by cutting off the small packet, up to the break, from above, with your right hand. Turn your right hand partially palm up as you talk so that the bottom card flashes. (The more indifferent cards that flash during the routine, the stronger the ending will seem. Fig. 2.) And drop the small face-down packet to the center of your working surface, near you. At about the same time, your left hand (with the deck proper) moves closer to your spectator so that he can cut off a small packet. (Pay scant attention to the demonstration packet.)

you do this so that the right thumbtip can take over and maintain that separation. Your patter during this and the following: "I obviously have no control whatsoever as to exactly where you cut those packets..." Do a "kick" (swing) cut of the top half of the inhand cards into your left hand. Your left hand turns palm down to flash the bottom card of its portion. "You could have cut to any card, like this six of hearts..." (Fig. 3; name the card that shows, of course.) Turn your left hand back to position and bring its face-down portion to under the righthand portion. (Your right hand also moves its portion onto the left-hand cards - it's a combined movement.) The broken bottom ace (of the right-hand portion) is loaded onto the lefthand cards as the two portions "kiss." (Fig. 4.) But there is no perceptible pause here. Your right hand turns palm up with the portion above the break, flashing that face card â&#x20AC;&#x201D; "or the nine of clubs..." Again, and obviously, name the card that shows. (Fig. 5.) Then place that right-hand batch face down to beneath the lefthand portion. You've brought the bottom ace to the top in an imperceptible manner and flashed two indifferent cards at the same time. Finish your remark - "But you didn't, obviously; you cut to those." Indicate the two tabled packets.

He cuts off a small packet. "Put it here," indicating the table area slightly to your left. You're starting a left-to-right horizontal row. As he does, casually pick up the demonstration packet with your right hand and drop it onto the left-hand cards. You've put the second ace "into play." Say, "Excellent; do it again - cut off another small packet, about the same size. Put it here." Indicate the area to the right of the first small packet. Hold the left-hand cards near your spectator and ask him to cut off another small packet. "Put it here." Continue to form the left-toright row. Say - "To make this all more than fair, let's shuffle the remaining cards. Flash the bottom card - the last ace is second from bottom - then overhand shuffle like this: Start with a "milk" (I've always called it a "slip")

Now, the bottom ace of the in-hand portion must be brought to the top. This can be done with a double cut - and two indifferent cards can be flashed as you do that cut/double cut. But, here's how Randy does it: Do a bottom-card buckle of the bottom card (ace) so that its inner end separates from the rest of the cards. Your right hand grasps the deck from above as â&#x20AC;˘1358-

shuffle - your left fingers and thumb take the top and bottom cards at the same time. (Fig. 6.) Continue to shuffle onto those two cards. (At times, Randy will drop one small batch to the front [face] of the left-hand cards, then he'll go back to shuffling onto them.) As you come to the end, run the cards singly to the last card, that's the ace, and it's now on top. (I usually follow up with one more quick overhand jog shuffle, keeping the ace on top. That's up to you; it isn't essential.) Hold the cards toward him - "Cut one more small packet...put it here." Indicate the end of the tabled row. You should be left with anywhere from 5 to 10 cards. Flip that small inhand packet face up and spread the cards. (See Fig. 7.) "Again, you could have cut to any of these - but you didn't; you cut to those." Nod toward the four tabled packets. "Please turn up the top card of each of those packets."

JOHN V. HOPE

Let him turn up the top card of each packet to show that he cut to the four aces! Afterthoughts: This is an excellent routine. "Telirri it and perform it; you'll love the layman reaction it gets. After your spectator cuts the second small packet to the table, you may want to false cut or false shuffle the remaining in-hand cards. I do a center Hindu Shuffle here; the bottom portion (you're interested only in the three bottom cards) remains intact. It's very fast but it isn't necessary. You may decide that any kind of cut or shuffle here may break the continuity or fluidity of the routine. Up to you. (The same holds true when you replace the "demonstration" packet. You may want to casually cut, hold break, double cut to break â&#x20AC;&#x201D; before he cuts his second packet. Or, you may not.) It's a fine routine whether or not you shuffle or cut at those points!

TROUSER POCKET TOPIT

This won't take too much time - or space to explain; it may, however, take you some time and practice to get it working smoothly. John uses his right trouser pocket almost as a "Topit" (for a coin) when he's not wearing a jacket and when he is wearing trousers with "normal" slant pockets. (Straight across pockets - as in jeans - won't do.) The key to the idea is that a side trouser pocket usually "stands" a bit away from your body - away from the pants themselves .

experiment a bit - it opens flat; the palm is toward your body. The act of opening the hand is all that is needed to propel the coin into the pocket. (Fig. 1 is as close as I can get to a stop-action view.) John will get the coin to fly directly into the pocket, or - most often, it "hits" just above the pocket opening, then slides down and in. The main point is that the hand does not have to move inward toward the pocket - it moves straight ahead (forward).

John uses it, basically, as a Topit would be used - as the clean-up of a "pretend" placement from right to left hand. In other words, he pretend places the coin from right to left hand, really keeping it in right-hand Classic Palm. As his hand/arm moves backward, then forward, in the sort of wind-up action, the coin flies into the right trouser pocket. The right hand continues its movement and slaps its palm against the left palm. And then both hands are shown to be completely empty. The coin is gone.

The hand must not hesitate, stop, or break its trajectory. It moves, fairly rapidly, from the "back" end of windup position to your left hand in one smooth, continual motion. It has to look natural - perhaps a bit flourishy, if at all. That's really all I can tell you about it. Go thou and practice. I think if you saw John do it you definitely would practice.

What makes this an imperceptible move is the fact that the right hand does not break or interrupt (or show any hesitation in) its trajectory as it moves from slightly behind you about waist level (the "back" end of the windup movement) - forward and toward your left hand. The way that's accomplished is: Remember; the coin is in right-hand Classic Palm. As the hand is about to pass the pocket - it's slightly behind it and perhaps two to three inches to the right of it; you'll have to

He uses it for the "complete" vanish, but also for his version of the coin-through-trouser-cloth penetration. He starts by doing the "standard." That is, he pretends to place the coin within a fold of cloth just outside his right trouser pocket (the left hand forms the fold). It's really held (palmed) in the right hand. The fold is allowed to open - the coin is gone. He "takes" it out of his pocket. (Just go into the pocket with your right hand and come out with the palmed coin at your fingertips.) He says, "I'll do it again," as his hand does the slight windup action - to put the coin â&#x20AC;˘1359i

into the cloth fold. There's no pretend placement from right to left hand this time — the "pretend" is from the right hand to the fold of the cloth. Of course, as the hand travels, do the "move." The coin is in the pocket. What he (John) does is to form the fold, both hands are used this time (Fig. 2) and then he lets the spectator feel the coin through the cloth. The spectator feels the coin that's really already inside the pocket - there's no way he can tell; he assumes it is outside. That's all; let the fold open - no coin. Show your right hand empty and then reach into the pocket - come out with the coin.

has to be in order for your hand to be at proper height. And it's a straight back-and-forth movement. For the "penetration," of course, the coin isn't in Classic-Palm position. Just let it go from between thumbtip and first and second fingertips as your hand moves. Again, no break in rhythm, no pause in the trajectory of the hand. You may want to keep something in the pocket, like a balled-up handkerchief; to keep it slightly flaired. But that shouldn't be necessary. This kind of magical "acquitment" can be quite handy, and mystifying. It reminds me of "cuffing" a coin - something I used often many years ago when all mens' trousers had cuffs. It was done while standing (as this i s ) ; the coin hit the right side of the leg, just above knee level, and slid down into the cuff!

Afterthoughts: You're on your own, but do try iT] it isn't as difficult as it might seem from just reading about it. It is the path of the right hand/arm that's difficult to explain. The arm will be slightly bent at the elbow - it

EDWARD MARLO

AN UPDATED FORCE

you remember the first card sleight you ever learned? Your fingers pulled back top cards as you asked to be stopped. When you were, your fingers took the pulled-back cards as your thumb (under the deck) pulled along the bottom card. The hand was raised to show that bottom card - the force card. Well, this updated version of Ed's also forces the bottom card. It is of course a far superior approach and much more flexible in application. You want to force the bottom card the face-down deck is in, basically, left-hand dealing position. All four fingers are at its right side, your thumb lies along the left side. Pull down the inner right corner of the bottom card with your left little finger(tip) as your right hand grasps the deck from above. (A "gentle" bottom-card buckle also works.) The fleshy pad of your right thumbtip momentarily takes over the separation of the bottom card at the inner end as the deck is moved inward. It moves toward you until its outer end is just past your left forefinger. Then, move the deck forward, leaving the bottom card. The deck's outer end is forward of your left forefinger and the bottom card is injogged about one-third of its length. Your left thumbtip is at the outer left corner ready to riffle down, your four fingers are still at the right side. From the front, the injogged card cannot (should not) be seen. (Look at Fig. 1. )

Getting set is the work of a split second. Then, riffle down at the outer left corner with your left thumbtip as you ask your spectator to stop you. When he does, grasp ' the portion fabout half the deck) above the stop point from above with your right hand. Move that portion back, cleanly, until its inner end aligns with the injogged card's inner end. (Fig. 2 - a side "schematic" view.) •1360-

You can relax here and ask your spectator if he's sure this is where he wants to stop. If he wants to change his mind, push the top portion forward and start again. When he affirms and this next action is easy and visually quite convincing - your palm-up right hand grasps the inner right corner of the top portion and the injogged card; thumbtip on tip, 1st and second fingertips underneath. The slight pressure of your right thumbtip causes the outer end of the injogged half deck to move upward, as its inner end moves down to meet the force card. That outer end raises just enough to convince your spectator that these cards are about to be fairly removed, but not enough to flash its bottom card. (Fig. 3 - another side "schematic" view.) There's no pause here -- your right hand moves smoothly inward (toward you) until the top portion and the force card simultaneously clear the inner end of the lower half deck. Continuing its smooth motion the right hand raises its portion so that the face (force) card is directly toward your spectator - ask him to remember it. (Fig. 4; spectators' view.) As soon as he says he's "got it," drop the right-hand cards cleanly and deliberately onto the left-hand cards - square meticulously and hand out the deck for shuffling; if you're presenting any kind of card-location effect, that is. There are times, of course, that you'd use the force card and not have the deck shuffled. For example — you can have the spectator stop you at the four aces. Briefly: The aces are at bottom. Injog two of them. Easy; "pinky" pulldown or bottom-card(s) buckle to separate them, get the momentary break, move the deck proper inward, then forward. And, left thumb riffle down forcing the "stop" near center. Do the force action (as in Figures 2 & 3) placing the right-hand portion directly onto the table. In other words, don't show the face card - just table the half deck. Prepare (injog) the bottom card (ace) of the in-hand half deck. Repeat the force. This time, table both portions, the one in your left hand and the one in your right. Pick up the 1st

tabled portion (half deck) and repeat the force with it. Table both portions alongside the two already-tabled portions. All that remains is the buildup - and the displaying of an ace at the bottom of each tabled packet.

fleshy pad of your left thumbtip will feel its outer left projecting corner and the pad of the left second fingertip will feel its right upper side. It's a fairly standard angling procedure. (Fig. 5 is a bottom exposed view. I've removed the left hand so that you can see the righthand's grip and the way the vital card angles. Visualize your left hand holding the deck from underneath.) When your left thumbtip and second fingertip feel the angled card as explained - you're "home free." Just move the deck outward with your right hand - this just about automatically keeps the angled card stationary, injogging it. It will injog at an angle - its inner end angling to the right. No problem; when it's injogged about a third of its length just press in with - close - your left fingers, straightening the card. Now it looks just as in Figure 1, except that it's the 2nd-from-bottom card that's injogged.

*** A more sophisticated handling of the force is to flash the bottom card before the force. Simple; force the 2nd-from-bottom card. This is what Ed prefers. What you have to do, of course, is prepare — injog — the 2nd-from—bottom card. Get your left little fingertip break above the bottom card. The right hand holds the deck from above. Now, with your left little finger, kick out - at an angle - the inner right corner of the 2nd-from-bottom card. Just push up and out with that finger(tip). If you've

properly angled

STEVE DRAUN

the card, the

Grasp the deck's inner end with your palmup right hand. Your fingers and palm cover the injogged card — thumb is on top of the deck. Gesture with hand and deck; make sure to flash the face card, as you say, "I want you to select one of these cards." (Fig. 6; your view. The injogged card is not seen from the front.) That's it. The flashed bottom card remains at bottom after the sleight, adding to the deceptiveness of the force. Afterthoughts: It's clean, it's easy - and it's "updated." Eel wrote to me, in part - "Dyed in the wool students of card magic may wish to compare my approaches using the injogged-card (or cards) idea to those already recorded in an early Jinx magazine (in a 'stop' effect), and that of Buckley in his Card Control."

CHALLENGE SPECTATOR PEEK its outer left corner and peek at a card. Just indicate the index corner - (from your point of view) the outer right corner. It's the corner at which you always have a card peeked. Let him peek; you get your left little fingertip flesh break.

|teve is an excellent card handler; and this is one of his foolers. I saw Roger Klause use it within a routine; he referred to it as a "million dollar item." He didn't teach it (it was at a lecture) because he didn't have Steve's permission to do so. It has never been in print and only a few "in" people know it. You will know it now! It can be used within a routine, when it's necessary for you to know a card without any suspicion that you could know that card (as in a step-ahead routine) - or - it can be used all alone as a "challenge" kind of thing. I'll teach it that way, just the glimpse itself as a "challenge."

At this point, stress the fact that you will look only at the backs of the cards - and that there's no way you can possibly see - or know - his card. The actual "move" is easy to do and it happens in the fraction of a second it is the explaining that won't be that easy, and will certainly take longer than a second. It's a question of positioning yourself correctly, and with proper timing.

It's done while standing, facing your spectator - at least that's how Steve did it for me. When you're familiar with it, you'll work out your own fine points of presentation. My assumption has to be that you can do a standard spectator peek (that is, you know how to get a left little fingertip flesh break after the spectator peeks at a card) and that you can do a pressure fan. Face your spectator. Hold the deck in your left hand in spectator-peek position. The pad of the left little fingertip should be right at the deck's inner right corner. (Fig. 1 - your view.) Tell your spectator to use his left thumb to "break" the deck at (from his point of view)

so •1361-

As you step to the spectator's left side that both of you can look directly at the

back of the deck and as you tell him to be sure to remember his card, and so on, do the standard peek maneuver. That is, sharply close your fingers down onto the deck. This automatically angles the top half — the portion above your break — to your left. It should "angle" more at the inner end than at the outer end. (Fig. 2. Note that your left thumbtip can aid in proper angling. It either keeps the outer end of the top half from moving, or it pushes it back [to the right] if it does move. I've raised the tip of the little finger so that you can see the step. ) Just as you move to his left your right hand moves to the deck ready to do a pressure fan. The point is that your right hand "shades" the step. (Fig. 3.) Say again that you'll look only (and directly) at the backs of the cards. This position (as in Figure 3) Is held for only a second or less. You snap the deck into a pressure fan - and here comes the "key" to the idea.

is the "bellying" of the deck that "does" it. (Fig. 4 is an exaggerated view of what you see as you glance down just as you're about to fan the deck - left hand omitted for clarity.) The step at the peeked card has cleared that card's index corner so that the bellying brings it into your line of sight! And only you can see it. That's really about all I can tell you. Obviously, there should be no pause, or as little as possible, as you glance down and immediately snap the deck into a pressure fan. With a little bit of practice you'll glimpse the card almost as you pressure fan the deck. Figure 4 is the key to the entire thing. And you have to make it appear as if you never look anywher.e but directly at the backs of the cards. As soon as the fan is made move your left hand directly away from you - you're both looking directly at the back of the fan. Stress it; say - "Can you see any faces?" He has to admit that he can't. "Neither can I." There'll be a "step" at the bottom center - the hub - of the fan, but no one but you will notice that. Close the fan, keep looking only and directly at the backs of the cards and hand the deck to your spectator. Ask him to shuffle. And take it from there. You can simply (and startlingly) name his card (read his mind), or go into a more elaborate effect.

The back of the deck must be directly toward you. It's as you start to do the fan, as you "belly" the deck as you'd ordinarily do as the "wind up" or get-ready that you glance down and see the index corner of the peeked card!! The deck has to be at proper position - for me, it's at about chest level. You will find your proper position after only one or two tries. It

MICHAEL RUBINSTEIN

Afterthoughts: Do it correctly and it does appear as IT you couldn't possibly see or know the card. It's an excellent glimpse. It's subtle as subtle as my own Super Peek out of QUANTUM LEAPS. (I'm not trying to sell you anything - QUANTUM LEAPS is out of print.) As a matter of fact - I use one after another as a challenge thing for other magicians. Those who don't know either method simply have no idea of what's happening. The methods are entirely different. Practice Steve's — it is not at all difficult, and it sure is good.

REVERSE DOUBLE CLICK PASS

|here are, of course, many versions and variations of the Click Pass in existence. A Click Pass is any maneuver wherein two coins are apparently placed into a hand - one coin is heard to "click" against the other as that coin is placed -- but both secretly end up in the other hand, or one secretly ends up in the other hand. The first variation of the latter that comes to mind is Bill Morales' - in his routine Hoo Dunnit (Apocalypse; March, 1984).

third fingers curl in so that the can rest on the coin. (See Fig. 1.)

fingertips

In this, Michael's, version the first coin is actually placed into the left hand, it is seen there. The second coin is also placed (apparently) into the left hand — it's heard to "click" against the first coin. Both coins secretly end up in the right hand. In order to accomplish it, Al Schneider's Classic Vanish is utilized. The first coin is really placed from right to left hand using the exact actions of that vanish. I'll describe those actions now. Both coins (half-dollar size) are on the table. Pick up one of them with your right hand and display it at right-hand Classic-Palm position. Turn your right hand palm down as your second and

As your hand reaches "full" palm-down position and as it starts moving toward your left hand, open your right fingers - the coin rests on the fleshy pads of your right third and second fingertips. Your right thumbtip rests on 1362-

fingertips. Your right thumbtip moves to (up against) your other fingertips — just as in Figure 2, except that now there's no coin at your fingertips; it is in Classic Palm. Both hands move simultaneously now. The actions look (or should) just as before - your right hand is placing its coin into your left hand. As your right hand moves to your left hand, your left hand starts to open and turn palm up. (Fig. 4 shows this in progress.)

the coin (Fig. 2) as your hand moves to your palm-up left hand. Your right hand does a short outward move as that coin is grasped at your fingertips - it's a natural action. Place the coin onto your left fingers. (Fig. 3.) As you move your right hand away, close your left hand around the coin but be sure to let that coin flash first. Turn your closed left hand fingers down. Your right hand reaches for the second, tabled, coin. As it does, the left-hand coin is brought to fingertip-rest position. That is, allow it to rest on the fleshy pads of your left second and third fingertips, but keep the hand closed. The second coin is displayed just as the first coin was displayed - on your palmup right hand, in Classic-Palm position.

But - the right-hand Classic-Palmed coin remains Classic Palmed as your left fingertips move their coin up to "click" against it! Your right fingers are slightly curled on your left palm, and the back of your right hand is (generally) toward your spectators "shading" the action. That first - left-hand - coin is smacked up against that right-hand Classic-Palmed coin to create the proper "click" and it's left in Classic Palm with the right-hand Classic-Palmed coin! (Fig. 5 is as close as I can get to an exposed stop-action view.) Your left hand of course immediately closes as if holding the two coins and moves to the left or forward, according to the routine in progress. Your right hand should be in relaxed state - the way you ordinarily hold it when you are Classic Palming a coin or two.

That coin is apparently placed into your left hand using the exact actions as when you placed the first coin. But, this time, the coin remains in right-hand Classic Palm; this is Al Schneider's Classic Vanish. Start turning your right hand palm down as your second and third fingers curl in so that the fingertips can rest on the coin. This time, however, those fingertips aid in pressing the coin into Classic Palm. (Look at Figure 1 again.)

right

Do the same slight outward movement of the hand, as if catching that coin at your

J. C. Doty

Afterthoughts: Try it; after a while it starts to tlow, arid it looks just fine. You can say, "One coin," as you display then place the first one - and "two coins" as you display and apparently place the second one. Actually place both coins into your left hand, using the Classic Vanish actions a few times. Then do the Reverse Double Click Pass making it look exactly like that — or as close to that as possible. Actually doing the action, then the sleight, not only helps you make it look right - it also helps you with the rhythm and feel of the (secret) sleight.

Faces Minus One

K B I interesting concept here. A card is freely selected, then lost into the deck. All the faces of the cards change to backs. And then, all the faces reappear - except the face of the selected card! That card still has a back on each side - it's handed out for examination. The cards are seen to be in new-deck order at the end - easier to look for the selected card.

the AC, the bottom card is the KD. This is for teaching purposes, but it will work fine for performance. Now; turn the deck face up and reverse count the top (face) four cards; replace them. Turn the deck face down. (The 10D is the bottom card now, if you're using the example set-up.) Place the double-backer on bottom, and you're ready.

There's a similarity to one of my own effects in which the face of the selected card turns blank; it's also done with a deck that's set in new-deck order. (See The Magic Eraser, in REPUTATION-MAKERS.) As a matter of fact, the original lapping technique I describe within that routine would work just fine for this. I want to teach it, however, just as Doty did it for me. You're seated at the table opposite the spectators. I won't bother including much patter; I think you'll want to make up your own.

Hand to hand spread for the selection of a card. I like to have the card taken "off center." That is, in the middle of a suit run. It isn't crucial, it just makes it easier to find the "missing" selection at the end. And, since I'm going to have to eye count the bottom five cards, it's easier if a card is taken from below center. So, I spread accordingly. This example, I'd try to force a spade. Assume the 7S is taken. (Don't let me confuse you here; any card may be taken. I'm simply including my preferences as I write.)

You'll need one double-backed card that matches the deck in use. That deck is set in new-deck order. Since different brands of cards are packaged in different orders - and the order is really immaterial - I'll use ace to king from top down in CHSD order. The top card is

As the card is being looked at, eye count the bottom (lowermost) five cards and reverse them as you close the spread. Easy; you're doing a half-pass action and it's covered by the closing spread of cards. (The Christ Twist, out of BEST OF FRIENDS, VOLUME I, would also do.) •1363-

What follows is the steal-out and lapping of the selected card as the deck is turned over end for end. The deck is in your left hand. The selected card is taken with your right hand and inserted into center deck via the deck's outer end. The steal-out is similar to a Paul Le Paul palm out.

through the turnover.) Spread some cards rapidly, as you say, "And I have already shown you that this side has all backs." Square.

As the card is pushed flush(?) with your right hand, your right little finger cants its outer end to the left. This brings its outer left corner to your left thumbtip. (Fig. 1 is an exposed and exaggerated view.) Your left thumbtip contacts that corner and your left hand moves toward you in a squaring-the-sidesof-the-deck action; the selected card moves along. (See Fig. 2.)

Now; cut at exact center. Easy - it's according to the new-deck set-up. In this example it'd be the KH. It's usually a king or an ace at center (at face of the upper half); you do not really have to worry about suits. Okay; cut at the KH, this example - and step that top half forward. Hold the stepped deck with your left hand as your right hand grasps the lower, injogged, half deck at its inner end. Remove that half, turning it over by turning your right hand palm up. No pause; your left thumb peels four cards one at a time, from the right-hand half onto the left-hand half. (Fig. 5.) You have leeway of only four - and it is part of your all-backs display. Turn your right hand palm down, turning over its half deck, and drop the half deck onto the left-hand half. You're ready to end.

Move your right fingers to the deck's outer end (your left hand shades the stolen card), grasp that end, and start to turn over the deck (end over end) toward you. The selected card remains in your left hand; simply hold it with base of thumb and fingers. As the deck clears the card, relax your left hand letting the card fall to your lap. (Fig. 3 is a stop-action view just as the deck is clearing; just before dropping the selected card.) The deck completes its turnover onto your left palm. The turnover is done as you say, "I wanted to show you that these cards have backs on this side, too!" This steal/lap is not easy to describe but it's easy to do, and it's good. It's the fact that you steal out (and lap) the card as you turn over the deck that makes it good. As you make the remark, partially spread off a few (no more than four) cards to show backs. Square. Flip over the deck. Rapidly hand to hand spread to show backs "on this side." Square. Do one more (false) turnover - I use Francis Carlyle's turnover move. Simply put the left thumb under the deck and push up as your hand turns palm down. (Fig. 4 - about halfway

Snap your fingers (or use whatever magical gesture you like) over the deck, as you say, "I'll make the faces come back." Do a face-up table ribbon spread. All the faces are back except for one face-down card near center. Point that out. Then ask, "What is your card." When he says that it's the 7S, start to look for it. In this example, the spades are at the left end of the spread, then diamonds, clubs, and hearts - all in perfect numerical order. It's easy, therefore, to locate the "missing" card. (The 6S is followed by the 8S.) Point this out. "So this (face-down) card must be your card." Turn it over to show another back (the doublebacker, of course) - "Too bad; I made all the faces return - except for your card!" Let him examine the double-backed card. End. Afterthoughts: That's the basic, and general, ~Td~elT; Fill in with patter, presentation, personality. If you can load in a matching double-backed card, you can open a new deck and perform this routine. There may be a thought or two about "exposing the double-back concept" running through your mind. I, personally, don't feel that it's something to worry about; I do not think it's "exposing." It's good magic is what it is! 33=

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MICHAEL RUBINSTEIN This one will be more difficult for me to describe in print than Michael's Reverse Double Click Pass. I'll try â&#x20AC;&#x201D; you try; perhaps the "twain shall meet." You're holding two half-dollar size coins near your right fingertips. One is tossed onto your left fingers, then the other is placed onto the first, causing the "click," as your left hand moves off apparently with both coins. Actually, both are secretly re-taken with your right hand. Both hands are palm up. Your right thumb pushes off, and lightly tosses, the upper coin onto your left fingers. (Fig. 1 shows the coin being pushed off; and Fig. 2 - it's just been "lightly tossed," as you say, "One coin.")

THREE-BEAT CLICK PASS behind) the two coins as it would if you were really going to pick up those coins. Your right thumb is directly behind the two coins. (Fig. 5 is an exposed, stop-action performer's view of the true situation.) There is, of course, no perceptible pause in performance. Your left thumb moves against your left fingers as your right thumbtip moves under the two coins, automatically holding them against your right fingers. They must be covered by, hidden by, your right fingers, of course. (Fig. 6 - stop action.) Your left hand moves to your left and/or forward, closing (as if holding the coins) at the same time. The right hand moves naturally away (a bit) to the right, in "open" position (as if not holding the coins!). (Look at Fig. 7.)

Afterthoughts: The "three-beat" in the title refers to the three beats of the sleight. In rhythmic pace, the first "beat" is the light toss of the first coin onto your left fingers. (As in Figure 2.) The second "beat" is the placing of the second coin onto the first one. (As in Figure 5.) The third "beat" is the moving apart of the hands. (As in Figures 6-7.)

Staying in rhythm, turn your right hand palm down (Fig. 3 - in progress) and lightly slap the second coin onto the first coin. "Two coins." (Fig. 4.) Figure 4 is a position you'd never really see â&#x20AC;&#x201D; not if you are doing this correctly. I have to use it to show you the basic positions of the hands during this fleeting instant of time. And, the slapping of the second coin down onto the first is what produces the "click." You'd never really see the exact position depicted in Figure 4, because - as your right hand turns palm down and slaps the second coin onto the first, your left thumb moves to (or

Once you "have" the rhythm and the "feel" of it, you can do the sleight in different ways. For example: The two coins can be lying on the table. Pick up one with each hand; your hands turn palm up to display a coin on the fingers of each. You're just about in the same position as if you'd lightly tossed the first coin from right to left hand (as in Figure 2 ) . Turn your right hand palm down slapping and "clicking" its coin onto the left-hand coin. Continue as described. Obviously, all must be handled to fit the routine in progress. The Three-Beat Click Pass alone can be used as a "quickie" two-coins (at the same time) through-the-table effect. Just do as taught, apparently placing both coins into your left hand. Your left hand moves forward to center of your working surface, as the right hand moves under the table. Do your "miracle penetration."

: 1365 s^^=sa^a^a^=5tf=as=!=s=

STEVEN COHEN sented, and any case on to your

IN ANY CASE

|ood magic here - if it's built up, preproperly. It's impromptu, done any time where. All you need is to have the cardthe table; it's flap side down, opening right.

Spread the face-down shuffled deck from hand to hand as you ask your spectator to touch any card. When he does, openly and deliberately cut the deck bringing the touched card to the top. Square, then do a double turnover, displaying (for teaching purposes) the 6D. Steven always does it just this way; the double turnover flows, it fits, after the touch and cut. Name the card aloud - then turn down the double. Table the top, single card (an indifferent one) face down to the left of the cardcase. Do an in-hand false cut (to keep the 6D on top), as you say, "The six of diamonds is your card - but I need one other card." Steven does the following: "Kick" (swing) cut the top half deck into your left hand with your right forefinger. (The right hand is holding the deck from above.) Then, without pausing, scoop the right-hand half to beneath the left-hand half via its left long side. Your left fingers press down on the left-hand half's right long side. This raises its left long side to facilitate the action. (Fig. 1 is an exposed view of that right-hand half moving to beneath the left-hand half.) The 6D is still on top, of course. Any good in-hand false cut (or shuffle, if you prefer) will suffice.

The proper way to do this is to use a second's pause. Don't say the name too flowingly. If you really are checking because you "forgot" the card (as you're supposedly doing) there'd be a moment's pause as the card's name registers. So, you'd say, "...the card you selected (look at it - pause) the six of diamonds." Steven always does it just that way. Place the card onto the deck. Move hands and deck over to the cardcase. When the deck is just over the case, your left thumb pushes off the top card to "rub-away vanish" readiness. "If I rub the six of diamonds onto the cardcase like this..." Do the "rub-away vanish." I'll assume that Apocalytes know this. (You might check BEST OF FRIENDS, VOLUME II - Dan Garrett's Force-Ooth.) To keep this complete, however and briefly: Your open palm-down right hand moves over and onto the pushed-off 6D(?) - (Fig. 3 ) . Then, as it starts to, apparently, rub the card onto the cardcase, your left thumb pulls it back flush with the deck. Your right hand "shades" the movement. That's basically it. Move away your right hand - the 6D appears to have been "rubbed into" the cardcase. Finish your remark; "If I rub the card onto the cardcase like this., it rubs away into nothingness."

Do another double turnover to display, say, the KS. Injog this face-up double card as it lands on the deck. Name' it, then grasp it at its inner end (reason for injog) with first and second fingertips above, thumbtip underneath. Your left hand tables the deck. Turn your right hand palm up, double card face down, as your left hand picks up the cardcase, from above and at its sides. Its opening still faces to your right. Flash the KS once, then say that the KS is a "magnetic" card as you place it into the case. (Fig. 2.) Close the case and drop it onto the table, opening pointing away from you.

Table the deck and pick up the cardcase, from above, with your right hand. Open the flap, and the side flaps, with your left hand. Shake the box, tilting it downward, so that the two cards slide out, partially. Help along with the left hand, which pulls the lower card farther out. (See Fig. 4.) Pick up the deck proper and hold it face down in left-hand dealing position. "Okay; the magnetic card - the king of spades - is in the cardcase. And here is the card you selected..." At this moment, your right hand picks up the originally-tabled card - supposedly the 6D. Pick it up from above and turn the hand inward so that the card's face is toward you - look down at it, and miscall it the 6D.

Take out that lower card with your left hand, turn it face up â&#x20AC;&#x201D; "We knew the king of spades was in here..." Drop it face up onto the table. "But it seems to have 'attracted' another card. Here - you take it out." Let your spectator remove the remaining card - you can let him take the cardcase, if you like, then he removes the card. It is, of course, the 6D! â&#x20AC;˘1366-

Afterthoughts: Yes; the selected card's face may 5e signed. Ken Krenzel saw the effect, liked it, and made one suggestion. He'd like to "prove" that he's putting only one card (the KS in the text example) into the cardcase. What he does is: Place the double card into the case, as in Figure 2. As soon as it is all the way in - no pause - your fingertips start to pull out the lower card. At the same time, your left forefingertip moves to the center of the cardcase opening at the half-moon cutout and pulls upward gently on the upper card's end. This is easier to do smoothly if your right fingers bend the visible card's end downward just a bit. Your left forefingertip holds the upper card up against the upper surface of the case. That upper surface

Randy Tanner

Remove the lower card - the KS - and turn it face up. Make sure its "singleness" is obvious. Then, or at the same time, let the spectator see into the cardcase! It appears to be empty because your forefingertip is holding the card up against its upper surface, as explained. And - that fingertip also covers the piece of card that'd show at the half-moon cutout. Don't tilt the case too extremely; in other words pay a bit of attention to the angle. (Fig. 6.) Check it out - it's easy. Place the face-down KS back into the cardcase. Close the case; continue with your presentation. Do it just as Steven does it, or "prove" as Ken does. The effect is good - in any case.

Triumphant False Shuffle

Randy uses the "Triumph" shuffle, not for a Triumph routine, but as a full-deck tabled false riffle shuffle. And, it's convincing; there is no reason for your spectators to believe that the deck has not been shuffled. The face-down deck is tabled, a long side toward you, in riffle-shuffle position. From here to the end of the sequence, there should be no break in the action - make each step move smoothly into the other - make the steps blend.

"bellies up" slightly. (Fig. 5 - in progress.)

Cut the top half to the left, and start the riffle shuffle. Do it this way: First release about half the left-hand cards (bottom half) then interlace its remaining (top) half with the lower half of the right-hand cards. This is simple enough, and should be done in a smooth manner - no hesitations. Telescope the cards about three-quarters of the way. (Look at Fig. 1.)

Making it appear as if you're squaring the deck, as your left thumb and fingers hold the protruding-left cards stationary, your right thumb lifts the top-right block ("A" in the illustration) ever so slightly, and pushes it to the left so that it flushes with the ends of the left half. (Fig. 2.) When that small block arrives at left, catch a slight and momentary break beneath it with the fleshy pad of your left thumbtip. Cut block "A" (to the break) to the bottom. The smooth way, which also "sets" you for the next step, is to move that block with your left hand as your right fingers slightly raise the deck's outer long side so that the block slides smoothly under it. Without pausing, your right fingers and thumb - which are at proper position -- strip out all the protruding-from-the-right-end cards ("B" in the illustration) and drop the lefthand cards onto them. In other words, the protruding-f rom-the-right-end block of cards also goes to the bottom. Square the deck, which riginal order.

is back to its o-

Afterthoughts: In appearance, the deck is given a rittle shuffle, followed by two running cuts. It looks good. It is always smoother and easier, incidentally, to strip out interlaced cards (block "B") diagonally/outward.

Ellipses (...) - talk about getting your money's worth...there are nine magical items in this issue (each item is a good one). That's about 40ÂŁ an item - less, if you're a subscriber. I should've raised the price! And yes; THE MIRACLES OF DAVID REGAL is in the works...it may be available sooner than you think. David is young, professional (he's with Chicago City Limits - comedy) - and has one of the most creative minds in close-up magic. You'll just love his stuff...it's so good...and so "do-able"! Ken Krenzel's The Incredible Full-Deck Levitation is one of the best book buys around... you'd better pick up a copy. Ditto for the book I wrote for Meir Yedid - his Card Animations. I've

â&#x20AC;&#x201D;H1367"

repeated

only one item, an Editorial, since Apocalypse started.

Well, I'm going to

repeat another one right now...because people ask strange favors. Some have heard of the "finger flinger" editorial (back in September, 1979) and ask if I'd repeat it. I'd much prefer that they buy the back issues, but I really don't mind. Here it is, word for word, from the Sept., 1979 issue of Apocalypse: Was Cardini a "finger flinger"? I have the feeling that those in magic who use the term "finger flinger" derogatorily - and I've rarely heard it used otherwise - WOULD GIVE A COUPLE OF FINGERS IF THE REMAINING FINGERS COULD "FLING" THE WAY CARDINI'S FINGERS "FLUNG"! Was Paul Le Paul a finger flinger? Nelson Downs? Malini? Nate Leipsig? Does the current crop of those who carelessly fling around the phrase "finger flinger" mean to "put down" these fine magicians and entertainers? I guess there always has been, and always will be, the distinction between the two phrases that always require quote marks around them - "box magicians" and "finger flingers." Well, I have been called a "finger flinger." Most often, by people who haven't seen me work! I believe these people are using the term to describe some "magicians" THEY'VE seen, and who THEY classify as finger flingers. To me, sleight-of-hand magic is the only pure magic, but - and this is a philosophy I've spurted for years - the word "sleight" means SECRET manipulation or maneuver. If it's seen it is no longer secret therefore, as far as I'm concerned, no longer a sleight. This, of course, is a very frustrating area. Magic is the only art I know where the very core of the talent CAN'T BE DISPLAYED. In every other creative area the artist's technique and knowledge is publicly and obviously displayed. An artist shows his finished work, a writer has his finished book, and so on. His talent and technique is there for all to see and admire. A magician, however, can't really display his well-practiced sleight or great idea or variation and that's frustrating. You may argue that - in magic - the final result of years of knowledge and practice IS seen and can be displayed. True, but the clever "secret manipulation" is not, or should not be, seen or displayed. That's frustrating. And that's why many magicians telegraph, call attention to, their "secret manipulations." They want to (subconsciously) showoff the sleight that took so much practice. And which, of course, is just the wrong thing to do. It's also why magicians form so many clubs and organizations. They can show EACH OTHER how well they can do certain sleights - show it to others who can appreciate it - that alleviates some of the frustration. Getting down to the nitty gritty, in my opinion, when a magician derogatorily describes another magician as a "finger flinger," what he's really saying is - "I can't do what he does, and I SURE WISH I COULD"! Please don't misunderstand - I'm not "putting down" box magic or "box magicians," just as I'd prefer that "finger flinger" was not used in a "put down" fashion. If those who use "box magic" are ENTERTAINING - that's the name of the game, and that's fine with me. It's just that, as I've said, I personally prefer sleight-of-hand magic. I also don't like to use gaffed decks or gaffed cards, or full-deck set-ups but, again, that's my personal preference. I certainly wouldn't put down those who do use them. Although I may not use, or perform, certain things, I'm interested in ALL areas of magic. And, obviously, I run items in Apocalypse - whenever I can get them, and if they're good - that I, personally, may never use but that I know will be used by others. There are those, however, who REALLY BELIEVE that "box" magic is the only magic - it's all they know, or WANT to know. Dennis Marks related an anecdote to me - I believe it originated with Paul Curry. It's about a local magician who did two tricks - he did the color-changing handkerchief (mechanical version) and the milk pitcher. For some reason, the Lord selected him to "touch" and turn into a REAL magician. "You are now a REAL magician," sayeth the Lord, as He toucheth the magician with a fingertip, "You can do ANYTHING you want to do in the area of magic." Do you know what the local magician did at his performances? You guessed it - he did the color-changing handkerchief and the milk pitcher!

Juan Tamarlz â&#x20AC;&#x201D;

Blown Away

plus much more "blow away" magic!

is published every month by Harry Lorayne, at: 62 Jane St., New York, N. Y. 1001k. All checks are to be made payable to Harry Lorayne, and mailed to him at that address. Individual issues - $i/.00 each Overseas subscription - $b6.50 surface mail Subscription - $k0.00 per year (U.S.A. dollars only) - $5b.5O air mail AH back issues - $l*.00 each, plus pstg. $57.50 airmail to Australia, Japan, So. Africa, etc. Canada & Mexico - $b5-50 surface mail.

: 1368t=i

Lotayne's VOL. 10 NO. 7

$4.00

JULY, 1987

ISSUE NO. 115

BLOWN AWAY

JUAN TAMARIZ

watched people watch Juan (he was visiting from Spain) perform this routine it "blew them away." What I will do is - I'll describe exactly what happens - the presentation, the excellent buildup, what the spectators see. Later, when I've taught the method, we'll refer back to this. The*word "you" represents the performer, of course. You're standing, your spectators are seated. (I prefer it that way; you can be seated.) After you shuffle the deck you place it, face down, at center table. Address one spectator "Cut the deck, please... complete the cut." Say the same to another spectator. Then another, or one of the same spectators, until the deck has been cut three or four times. Ask if that is fair enough - "Or would you like to cut again?" If someone wants to cut again, let him do so.

please take the top card. Look at it, remember it, don't let me see it." He does. Address another spectator. "And, I couldn't possibly know this card. (Point to the [now] top card.) Would you take it, please? And remember it." Pause. "Do you each know your card? Good."Address the first spectator - "Please put your card back on the deck." Then the second spectator - "And put your card back." Pause. "Is there anything I could know about your cards?" (For magicians, Juan says, "And between us, it is not a marked deck.")

Then, say to one spectator, "I could not possibly know the top card, could I? You've cut the shuffled deck and I haven't touched it. So,

I1369i

If you have presented this properly, kept your eyes averted, and so on, the answer should be, "no." Immediately say, "Wrong! I do know something. I know that they're both on top of the deck." You will (or should) get nods of agreement here. "So, please cut the deck, would you...complete the cut." Let one of the spectators do this.

Take one of the half decks, spread through it, faces toward you and immediately remove a card. Place it face down onto the table. The remainder of that half is also tabled face down. Do exactly the same with the other half deck.

"Now, do I know anything about your cards?" Again, you should get a negative response. Say, "Wrong! I know that they're about at, or near, center." Nods of agreement. "So - I'll turn away, I won't look; you watch me and make sure I can't see. And would you (indicate any spectator) cut the deck anywhere - off center - and complete the cut. That way I won't know where the cards lie in the deck." This is done. Turn back. "Have you done that? Good. Now do I know anything about your cards?" "No," say your spectators. "Wrong! I know that they are together somewhere in the deck." (Indicate the deck, point to certain areas when they're mentioned, as you go through the buildup.) Nods of agreement or remarks like, "Yeah, that's right." "So, let's separate them. Sir, would you pick up the deck - and deal the top card here. Deal the next card here. And keep dealing alternately that way all through the deck to form two halves." Let him start dealing, alternate (left/right) packets, as you say, "That way, we know that one of your cards must fall here (indicate one packet) — and the other card will fall here (point to the second packet)." He deals through the entire deck this way. Of course, you encourage him to do it quickly, and one card at a time. Square each" half deck, or let a spectator do it. "Now, I don't know anything about your cards, do I?" Your conditioned-by-now spectators will certainly agree that you do not. "Wrong! I know that if one of your cards is, say, the eighth card here (point to one tabled half deck), then the other card is eighth, or perhaps seventh or ninth, here (point to the other half deck) ! That must be so because they were together in the full deck." Again, your spectators have to acknowledge that you're correct .

Two single face-down cards are at center table. The suspense is (should be) almost unbearable! Ask each spectator to name his card and slowly turn over the two cards. They are the correct cards!! Take your bows. Well; that's about the exact presentation (give or take a word or action here or there) and effect. And, for laymen, what Juan usually does from here is - he leaves the two selected cards face up on the table, as "leader" cards, puts the two half decks together, shuffles, and goes into Out Of This World, or puts the selections back into the deck, shuffles, and does my Out Of This Universe! And, what I've just told you should also give you the modus operandi! If you still don't "see" it — stop, think for a moment or two. Yes, all it is is an alternating red/black set up! It is not a new concept; I used it myself in BEST OF FRIENDS, VOLUME I, the last effect in the book - Ultra Location. For Juan's effect, what "does" it is the way the cards are replaced. Spectator #1 takes the top card, #2 takes the next card. Then - #1 puts his card back on top first. That's all; the two cards go back in reverse order. The rest is automatic. At the end, one half deck will consist of all red cards except for the one black selection and the other half has all black cards except for the one red selected card. That's why you can find them so quickly. Now, a few points: Juan starts with the deck set that way (red, black, red, black, red, etc.) and does one or two shuffles to keep it that way. I, personally, prefer to start with the deck set all reds/all blacks (or I'll get them that way using my THE GREAT DIVIDE) . The shuffling is much easier for red/black set up.

Look at one spectator. "So — would you shuffle this half!?" Indicate one half deck. As he picks it up - "Yes, that's right - shuffle it" - look at the other spectator. "And would you shuffle this half! Each of you make sure your cards are really, thoroughly, shuffled." I gotta' tell you, when I carefully watched some magicians watching Juan do this, I just loved the way their eyes widened when he said, "...shuffle 'em." The whole thing is a buildup to that. Laymen, of course, are just blown away, period, by the entire (basic) effect. But I saw some magicians nodding knowingly (only partially knowingly) as Juan insisted on complete cuts. It's when he told the spectators to really shuffle each half that looks of surprise and "that loses me" appeared in their eyes! Later, I'll discuss the way Juan sometimes has laymen shuffle their half decks. To conclude the effect: Say, "Are they thoroughly shuffled? Okay; what I want to do now has to be done 'real fast....very fast.'"

Just undercut less than half the deck and do an overhand jog shuffle, and/or do a center Hindu Shuffle starting in the top half, and so on. (Or use my Super Riffle Diffle out of RIM SHOTS; it's one of the best red/black shuffles I know.) Then, part of my shuffling is to do a perfect faro! That's it, the deck is set in alternating-color order. (This is the handling I teach in BEST OF FRIENDS, VOLUME I.) Do not overdo the shuffling. I've said it often enough - don't stress the obvious! One or two shuffles will do. When in alternating-color order you can cut as often as you like, you can do a Charlier Shuffle, which only cues the deck, etc. Juan has a few of his own methods. You do .1370.

know that you can always overhand shuffle by running (singly) any odd number of cards from top and throwing the deck onto them. The order is maintained. And, I came up with: Overhand shuffle but with face of deck outward (to your left) as the right hand holds the deck in readiness -- its back toward your right palm. Your left thumb "takes" a batch (from the face of the deck) as the first part of the shuffle, and - here's the key. If there's a red card at face, this first "chop" must leave a black card at face of the remaining right-hand cards. (Fig. 1.) But if a black is at face of deck, the first chop must leave a red card showing at face of the righthand cards. Then, continue by running (singly) any even number of cards (either 4, 6 or 8 is about right) onto the first batch - then toss the remaining right-hand cards onto the face of the left-hand cards as the last "step" of the shuffle.

comes a sort of "running gag" - and the buildup is what makes it so strong. Each time you ask whether you "know something about the cards, now" - say it as if also saying or intimating, "of course I don't." Use an attitude that will elicit the "no" responses. Afterthoughts: Near the end, when the spectators are each shuffling one half deck, Juan will sometimes say to one of them -- "Can you shuffle if you hold the cards behind your back? Please do it." To the other spectator, "Can you shuffle holding your cards above your head? Do that, please." The reasoning is that a) it's funny - and b) it locks in the fact that each half is being shuffled. No one will forget it.

Do it casually - it's a convincer. (Just came up with it - don't know if it's been done before.) To repeat, don't overdo the shuffling. Select one or, at most, two of the ideas mentioned here, or one or two of your own. That's all; don't spend time proving what should be obvious - you'll accomplish the opposite.

When he goes into Out Of This World or Out Of This Universe, he says something about the cards having been shuffled - "you even shuffled them over your head and behind your back." If you don't go into either of the above-mentioned effects (or into Two-Shuffles Harry, from the August, 1978 issue of Apocalypse, which fits perfectly), casually shuffle the two halves into each other to "kill" all clues to the method. One thought on the presentation. You may not care for the "finding the cards quickly" idea. You may want to make it look as if you really have to concentrate. Fine; do it that way. I've taught it as Juan presents it.

Do mention "shuffled" deck at the beginning, and perhaps toward the end. And, follow Juan's presentation step for step. Get all the "wrongs" in your mind, in order. "I know that they're on top - I know they're somewhere near center - I know they're together," etc. It be-

When I originally asked Juan for an easyto-do effect that's extremely strong, this is the first one he thought of. It is easy to do and, for laymen, it's extremely strong â&#x20AC;&#x201D; and seemingly impossible.

ERIC DECAMPS

"SNAP" FINGER RING/LINK finger. Eric starts with his right hand; I prefer starting with my left hand - use whichever works best for you. Place the ring onto your left forefingertip, past the first crease. Now place one loop of the rubber band onto the same fingertip, in front of the ring, and the other loop on your thumbtip. (Fig. 1. All the figures are performer's view.)

guess I've been responsible for starting some thinking about rubber bands and finger rings linking onto them. Bill Kalush came up with a marvelous method for "linking" a borrowed ring onto a rubber band. Then, Michael Ammar took off on that and used my Snap! (broken-andrestored rubber band) which I originally taught in a book called Hex, then included in REPUTATION-MAKERS. It (original Snap!) is taught in detail on my video tape (Tannens Stars Of Magic series; available directly from me. Where else would you include a plug!?). Anyway, Eric's way is cleaner, much more direct than what I have seen, using the Snap! handling, and he's added a couple of excellent touches. He's eliminated the forming of the "X" in Snap! - that's what makes it so direct. He, obviously, was inspired by the above-mentioned gentlemen. His handling needs to be recorded and, since it's all based on my idea anyway I'm more inclined to record it! (I started some more thinking about rubber bands by including The Uncanny Penetrating Rubber Bands in Tarbell #7 [which I wrote, even though you won't see my name anywhere on the dust jacket or spine] and check out The Uncanny Penetrating Finger Ring in the May, 1987 issue of Apocalypse.)

The ring is taken off your forefingertip which automatically "threads" it over both rubber band strands, and you "go into" the linking effect at about the same time. It is, at least, a flowing continuous action. Grasp the ring at its sides between your right thumbtip and first and second fingertips. (Fig. 2; stop action.) No pause in performance. Move the ring (to your right) off your left forefingertip and down onto the rubber band. As part of the same motion, move the ring to the right, pulling along both

You need a rubber band; I will leave the type and size of the band up to you. Any finger ring will suffice - it should, however, be wide enough to fit easily over the tip of your fore'1371-

strands of the band. Your right 1st, 2nd and 3rd fingers move to the left of the strands helping to pull the ring. (Fig. 3.)

I've got to break the teaching rhythm here for a moment to tell you that Eric moves only his first and second fingers to the left of the strands; this leaves his third and fourth fingers free later, as you'll see. I prefer doing it as described â&#x20AC;&#x201D; only my little fingers are free later. You will want at least the little fingers free. You'll see why as we move along.

tration. Also note that I've allowed the ring to move downward nearer the right little finger. This is to facilitate the "appearance" of the ring, later.)

No pause. Move your left 2nd and 3rd fingers into the large loop/space. (Fig. 6 - stop action.) Your left f oref ingertip must also go into that loop, alongside the 2nd and 3rd fingers. Another "hairy" area - if the band is too tight, you may "lose" the original forefingertip loop. Don't let that happen. You'll find that if you twist that loop between thumbtip and side of f oref ingertip - which you want to do anyway in order to make the loop look like a single strand - holding it firmly in place is facilitated. You're in Snap! position. Both rubber band end/loops are held in place by your left thumbtip and forefingertip. It is really "Grandmother's Necklace" position. (Fig. 7.) The original thumb loop may shift position, go a bit downward in your left hand - that's okay so long as you don't let it go. After some experience, both loops will always remain at position, as explained.

All right, continuing from Figure-3 position: Your left thumbtip and forefingertip move toward each other until the fleshy pads touch. (Fig. 4; note the large loop/space immediately to the left of your right 1st, 2nd and 3rd fingers. That's important â&#x20AC;&#x201D; that's what enables you to get "to position" almost instantly.) Now; turn your left hand palm toward you; this causes the thumb loop of the band to slide off that thumbtip. This is the slightly "hairy" part. You can let your forefingertip move into that thumb loop so that both loops are on the forefingertip. But, you'll have to move that tip out of the loops in a moment. What I prefer to do is to hold both loops between thumbtip & forefingertip. This really can't be explained in print; you have to do it. You will automatically end up doing what is best - and what is easiest, for you. (Fig. 5; I've bent back the left 2nd, 3rd and 4th fingers so that it's all clear. In performance, they'd be about to enter the loop now, as you'll see in the next illus-

11 Hold this "situation" up to about spectator's eye level, and tell him to blow on the rubber band. As he does, and with a slight but sharp movement to the left release the ring by rapidly opening then closing your right third fingertip. The idea is to propel the ring into view threaded on the lower double stand! It's magical looking and it sure does appear as if â&#x20AC;˘1372-

the ring is linked impossibly onto the rubber band. (Fig. 8.) Reach out with your right little finger - open it - to "flick" the ring. (As in Fig. 9.) This makes it spin on the band's double strand. If only the 1st and 2nd fingers of each hand were inside the loop, your third fingertip would do the ring-flicking/spinning.

two, three - watch!" And release the lower double strand; that is, maintain your "death grip" on the loop that's between your thumbtip and forefingertip. It sounds like, and looks like, the ring has magically penetrated the rubber band! Let the loop of the band (in your left hand) dangle to strengthen the illusion. (See Fig. 11.)

Then, tilt your hands - first one way, and then the other - so that the ring slides left, then right, etc. Finally, remove the right hand from the rubber band, and grasp the ring at its outer, free edge. Move it toward your spectator, stretching the band - stretch it pretty tautly. The ring still appears to be linked. (Fig. 10.) Tell him to grab it where you're holding it at the edge - so all can see the band still going through. Tell him to hold tight. It will look just as in Figure 10, except that someone else is holding the ring. Remind

Afterthoughts: Eric has made it easier to get to "position," and added the "appearance" of the ring onto the lower double strand, plus the final "penetration." Of course if you start the action on your right hand (the two loops end up between right thumbtip and forefingertip) it'd be your left 4th (or 3rd) fingertip that'd do the ring spinning, as in Figure 9, and it'd be your left hand that stretches the ring toward your spectator, as in Figures 10 and 11. What a good, pretty and impromptu piece of magic this is!

him to hold tight, then say, "One,

IAN BAXTER

GOLD DIGGERS OF 198?

Here's a novel "quickie" for you. It's a quickie with plenty of room for laughs/entertainment. Ian tells me that it was Jon Racherbaumer's Surfer Sandwich (Apocalypse; October, 1985) that "kicked off" this idea. He says, "I tried Jon's effect, and stumbled on this different approach. Subsequent audience testing helped give birth to the plot idea. It is visual, and makes for an amusing routine. What more could one ask?"

The patter theme is that two red-headed femmes fatale are out to snare a wealthy man. "The card you chose will represent you in the deck, sir. You look quite prosperous, so let's see what happens!" Hold the face-down deck in left-hand dealing position. Pick up the tabled face-up queens with your right hand, and drop them face up onto the face-down deck. Spread to display them, also spreading over the top face-down card (the selection). Square, getting a momentary left little fingertip break beneath the three cards. Your right hand picks up the 3-card block from above as your left Hand tables the face-down deck in front of you.

The effect, briefly, is that a male spectator freely selects a card. That particular card is "seduced" by the two red-headed ladies of the deck - the QH and QD. When they learn that the selected card "has no money," the two queens unceremoniously kick him out of the deck onto the table! All you need is a deck of cards and a surface upon which you can spread it.

Sandwich the face-down selection between the two red queens. Standard action: Your left thumb peels the top (face) queen onto your left palm, then your right hand places the remaining double card (back-to-back selected card and red queen) onto the first queen - stepped about a half inch to the right. Take the "package" from above with your right hand and hold for a moment, as you quickly (and naturally) moisten your left thumbtip and foref ingertip. Then with your left hand, ribbon spread the face-down deck from left to right. When you've done that, grasp the three cards (in appearance, only the two queens) at center of their inner ends. Grasp pretty firmly. (Fig. 1.) You're ready to go into the "gold digger lunge," as follows: "Yes - the two gold diggers are just about ready to 'make a play' for you. Are you ready? Are you nervous -- excited!?" Go to the right end of the tabled ribbon spread with the queens. Let the outer right (non-index) corner of the upper queen make contact with the tabled cards, and slowly and steadily slide the queens to the left along and on the spread - maintaining contact. The contacting corner of the upper queen makes a steady clicking sound as it moves. (See Fig. 2.)

Openly remove the two red queens from the deck and drop them face up onto the table. Let your spectator shuffle the deck. Then, let him select any card. Use a man for this - if you're going to use the suggested plot idea. He remembers and returns the card - you control it to the top.

"And â&#x20AC;˘1373-

now,

the magic words - 'No money in

the bank!'" Time this properly, blending the remark to the following ending action. Your left hand reaches the left end of the spread and it moves around to the front of the spread. Move it around to the front and continuing the motion, lunge your hand forward smartly - and stop suddenly.

Afterthoughts: The basic move, the forward "lunge," is not difficult at all. After a few tries, after you get the feel of the separating-the-queens technique you'll feel as if you've been doing the thing all your life. Please note the sequence of actions leading up to the move. Moisten your thumbtip and forefingertip (casually, not furtively) before you approach to ribbon spread the deck, not just before you grasp the queens. It looks as if the "moistening" is to facilitate the spreading, not what follows.

As you stop the sharp forward movement relax your grip on the cards with the left thumbtip and forefingertip - release that pressure. And, the face-down selected card will shoot out from between the two queens! (See Fig.) The card lands on the table, face down, perhaps one foot or so from where your hand stopped.

The suggested patter idea, the theme, about the gold diggers, is amusing and inoffensive. Ian has tested it often enough and it always gets laughs. (You can make up your own plot, of course.) He's told me that he has a beauty of a double entendre (read "dirty") patter story. Write to him in Australia, he'll be more than happy to send it to you in a plain brown and sealed envelope!

"Typical gold diggers; they've dumped you! What's the name of the card that is representing you, the one you selected?" When it's named, turn the face-down card face up for the climax. Flick the queens against each other as you separate them & toss them into the deck or onto the table.

Sol Stone

Split Secoined

Sol is almost encyclopedic when it comes to single coin vanishes. I've recorded a few of his sleeving methods and some of his pretend placements from one hand to the other.. Neither of us is certain as to whether this one has ever been explained in print. It should be. Sol uses it mainly when he is taking a coin from the table, although it can be used at any time. He feels that the coin and his right hand are in perfect position, after a from-the-table pick-up, to go directly into the vanish; there are no hesitations or adjustments - it's almost rhythmic. It's done either seated or standing.

Display the coin this way for a beat. Then "take" it with your left hand. Your left hand does most of the moving, although your right hand also moves toward your left hand. And both hands remain palm down. As the hands meet, your left thumb goes into the circle formed by your right thumb and forefinger. It appears as if your left hand is grasping your right fingers at that moment. (Fig. 2, your view.) As you do this, your right second, third and fourth fingers open slightly (shaded by your left fingers of course) so that they almost cover, rest on, the coin. (Fig. 3 is a worm's eye view, just a split second after Figure 2.)

The coin (Sol uses half-dollar size) is on the table, not far from the edge. Pick it up with your right hand - your f oref ingertip is placed onto the coin and it's pulled back. As it comes off the table's edge, your thumbtip moves under it so that it's grasped at its inner edge between those two fingers. Your other right fingers are slightly curled. (Fig. 1.)

â&#x20AC;&#x201D;

There is no pause. As both hands turn outward slightly, bringing their palms more toward you, your left hand moves back to the left your left thumb comes out of the right thumbforefinger circle as your hand closes and turns fingers up - as if holding the coin. At the same time, your naturally open right hand also turns outward but only slightly, your thumbtip

.1374.

and forefingertip opening and releasing the coin. The coin is automatically at finger-rest position, on the pads of your second and third fingertips. Remember; your right hand turns outward only enough to allow the coin to stay at finger rest position. Your right forefinger does not specifically point to your left hand, but it is sort of toward your left hand. Sol rests his right hand on the table. (See Fig. 4.) These things always take longer to explain than they do to perform. It's the matter of a fraction of a second or so. Your left thumb enters and immediately comes out again - as if it has taken the coin.

Rick Silberman

Afterthoughts: You'll have to keep trying this until it tlows smoothly. Then, you'll realize how effective it is. It's just lovely in Sol's hands. And, although the coin is covered completely by your left hand during the "take," there is still a persistence-of-vision aspect to the move. I refer to it as a "move," because it is but don't make a move out of it! (I know that this has become a cliche of mine, and it should be; it is important.) As usual, the best way to practice it is to use the described actions to really take the coin with your left hand; get the "feel" and look of the legitimate action. Then, make the move look like that.

Im-Atchin-ation

It's Rick's little touches and his timing that makes this an excellent close-up card routine. It utilizes a matchbox (with some matches in it). Rick lived and worked in London, where matchboxes are more prevalent than matchbooks. (The opposite is true in the U.S.A.) I'll try to teach it exactly as Rick presents it. You need a deck of cards (you'll ruin three cards each time you do the routine) and a matchbox about half full (or less) with matches. There's no preparation necessary; it's impromptu. Have spectator #1 select a card. It has to end up at 2nd-from-top position. Rick uses my Ultra Move (out of AFTERTHOUGHTS); that is, he has the card replaced to the top of the deck, shows it once more, as he says, "Please remember your card," and it's done. If you don't do The Ultra Move, just control the card to second from top.

top (indifferent) card to flash. As you tilt downward, start to fold. The outer end of the double is aligned with the deck's outer end see Fig. 1. Your second fingertip lets the lower, signed, card slide off. (Fig. 2.) And that card flushes as the indifferent card is folded in half. (Fig. 3.) Continue from here, pushing the outer half of the card against the inner half and against your right thumb; this automatically folds the card into quarters. (See Fig. 4.) It's the kind of thing you have to try in order to see how it flows, and to get the timing right in order to make it imperceptible. This folded card is placed into the matchbox, on top of the matches. If you've left the drawer of the matchbox open halfway, it is a simple maneuver. But, it isn't necessary. Keeping the deck in your left hand, you can use the third fingertip to push out the drawer as your right hand slides in the card. (Fig. 5 is an exposed view of this in progress - I've moved the left thumb out of the way so that you can see the left third fingertip.)

Do a double turnover to show the selected card. If you have your spectator place his card onto the top of the deck, and then do The Ultra Move, no "magic" has occurred when you do the double turnover. If, however, the card is apparently lost in the deck, showing it on top(?) via the double turnover is a piece of magic. Handle it accordingly. Let the spectator sign the face of his card.

Slide in the drawer and tell spectator #1 to place his hand on the box. As he does, casually do Braue's Secret Reversal, turning the deck face up except for the signed card which ends up face down at bottom (rear) of the faceup deck. Briefly: Get a break beneath the top card. Grasp the deck from above with your right hand, right thumbtip taking over the break. The left hand cuts (flips, actually) the lower half deck face up to the top. Then, your left hand cuts all cards up to the break face up to the top. You're in position.

Now, one of Rick's "touches." In appearance, the signed card is turned face down, immediately folded into quarters, and placed into the matchbox. Of course, it's the top indifferent card that ends up in the matchbox. Here's Rick's handling: Flip the double face down but either injog it or get a momentary break (separation) under it. Then pick up the card(s) from above and start folding it into quarters. Tilt the outer end of the deck downward. The reason for that is - you don't want the index of that

Hand to hand spread the face-up cards (do not flash the bottom face-down card) asking another spectator (#2) to take out any card. When he does, square the face-up cards, hold in your left hand as your right hand takes his card... â&#x20AC;˘1375.

turns it face down and places it to the bottom. Flip the deck face down. This handling hides the reversed first selection, of course, and prepares you for a double turnover. The second selection is face up on top. Have it signed. Flip the double face down. Table the top single card face down near spectator #2; ask him to place his hand onto it. Flip the deck face up in your left hand as you build up the fact that each has signed his card, and that each is guarding his card. The actual situation is: An indifferent card is in the matchbox; spectator #2 has his hand on spectator #l's card. Spectator #2's card is at the bottom (rear) of the face-up deck. As you talk, and as you bring attention to the matchbox and tabled card, secretly fold the bottom (rear) card of the face-up deck (2nd selection) into quarters. This fold is described in Expert Card Technique (Mercury's Card; page 303). It can (should) be done in an instant. Again, briefly:

There are choices now. You can ask spectator #1 to remove his hand from the matchbox, and you can slide out (to the left) the matchbox drawer to expose the folded card. Or, tell him to push out the drawer part way, or do not slide it out at all yet. Pick up the face-up deck with your right hand and gesture with its protruding face-down card toward the matchbox. "Do you think it is possible for me to cause these two cards to change places right in front of your eyes!?" Whatever the answer - turn over and table the deck to show that spectator #1's card is protruding where spectator #2' s card should be.

8 It's based on an old bottom-card-peek idea. Your right hand holds the deck from above. The outer end of the bottom card rests along your left forefinger. Move your left hand inward and your right hand outward. Because your right thumbtip keeps the rear card from moving inward past the deck, and because your left forefinger presses up on that card â&#x20AC;&#x201D; the card buckles. Keep buckling it until the card is folded in half. (Fig. 6.) Keep moving your hands toward each other; your right thumb pushes into center of the folded-in-half card, easily folding it into quarters. (Fig. 7 is a stop-action, exposed, view.) Closing your left hand completes the job. Move the face-up deck back onto the folded card - to left-hand dealing position. The folded card just about automatically is in finger palm; the deck completely shades it. The folding takes an instant; it's one action, really. As you talk about the signed cards, and say, "You each could have selected any card in this deck," gesture with the deck. The object here is to "press" the crease of the folded card. Your right hand grasps the face-up deck at its inner end - fingers on top, thumbtip underneath and at the corner of the folded card. Turn the deck face to audience; gesture. Your right thumbtip squeezes, pressing the fold. (Fig. 8 is your view, of course.) Place the deck, as it was, back into your left hand. Talk for another moment, then your right hand takes the face-up deck (from above) out of your left hand and tables it. Your left hand turns palm down as the deck is taken so that the folded card remains hidden. Steady the deck with your left first and/or second finger as your right hand takes the second spectator's card(?) from under his hand and inserts it face down and protruding to center of the face-up deck. (See Fig. 9.)

11 Now, the apparent "dump" of the card out of the matchbox into your left hand. This is by no means a new idea - it's a switch - but the illusion is perfect in Rick's hands. It's all one fluid action, but I'll break it down for you. Pick up the matchbox with your right hand. If the drawer has not been pushed to the left yet, do it as you pick it up - with your right third finger. (That's how Rick does it.) And, in appearance, the card is dumped onto your left palm. Rick adds a convincing touch; the hidden left-hand folded card flips over. It really looks as if it's fallen out of the box. With proper timing, of course, your right hand moves to "dump" as your left hand turns palm up. The inner left corner of the drawer goes under the outer right corner of the card. That will be the "closed" corner if you've folded as suggested. Flip over the loose card as you do the dumping action. (Fig. 10 - in progress.) As you display the folded card on your left palm - all attention is on it - tap the box (the drawer) on the tabletop, closing it (Fig. 11) and casually toss it onto the table. Slowly open the left-hand folded card revealing spectator #2's signed selection! Afterthoughts: That's what Rick does - he casually tosses the matchbox onto the table. He tells me that no one ever pays any attention to it. They shouldn't, if you have performed the routine correctly. You can casually pocket it as you go into your next miracle â&#x20AC;&#x201D; if you're afraid someone may open it innocently, to light a cigarette. Up to you. Two additional

.1376,

thoughts from Rick. As ex-

plained, you don't know the name of the indifferent card that's Left in the box. Since it is left in the box, you can take advantage of it go for the miracle. Manage it so that that indifferent card is one that you think is named more often than other cards. (I don't know if the AS still is the card most often named. I think women name the QH or 7H most often. ) Then, after another effect or two, have a card named. If it's not the card in the matchbox, use the card for a different effect - then try again later. If you can get someone to name the proper card, you've got your miracle! Build it up, riffle the deck in the general direction of the matchbox, and let the spectator open it. The method in the text is impromptu. Rick occasionally uses a non-impromptu method. Nonimpromptu only in so far as a folded card is loaded into the matchbox beforehand. Fold the card into quarters. Slide out the drawer of the matchbox, about halfway. Push in the folded card, via the empty end of the "sleeve," forc-

ing it above the inside end of the drawer. The card goes in until it is completely hidden by the sleeve. This keeps the box open. If you care about this, you'll try it and see exactly what I mean. The "package" is easy to carry in a pocket so that the matches don't fall out. When ready to perform, casually table the open matchbox. Do a trick or two. Then, ask a spectator to strike a match for you. Here's the thing - and yes, there's a slight element of chance - most people will remove a match and close the box in order to strike it. The spectator loads the box for you. (If he does not close the box, you can do it casually with one hand as your other hand takes the match.) Do something with the match, just to rationalize its removal, then go into the text routine. If the folded card is too bulky - if it causes the sleeve part of the matchbox to buckle upward use half (or five/eighths, or whatever) of a card! Doesn't matter, since that's never removed from the box.

c^ipocalypse Variations Or Additions Jim LaConte was fooled by Tetsuyoshi Hoshino's Not By Sight (Apocalypse; March, 1987), as were most magicians (including knowledgeable cardmen) when I was showing it around. When it appeared in the above-mentioned issue Jim, and many others, used it. But, then Jim did if for some people using a borrowed deck - not with the aces, but using any cards; he used anywhere from 6 to 12 cards. (If you're not familiar with Not By Sight, you won't know what's "going down" here.) Terrific idea. I like to ribbon spread the face-up deck and pull out five diamond cards (not the seven) obviously not pointer cards - and do the effect with those. How? The cards in most decks are printed just a bit off center! Each card has more white space at one end (above the index) than at the other. (Like this short article!) That's it - they're "automatic" pointers (or one-way faces)! Check it out. Some decks are "tough." Tally-Ho cards are fine; particularly the "fan" backs. (It's immediately noticeable to you, because you know what to look for.) Jim wasn't aware of it, but the idea is not a new one. It was mentioned in Steranko On Cards (1970) using a full deck. Open a new deck, and the cards are all set (with ends all pointing one way). That matters not to me. When I ribbon spread a face-up deck, I simM push out five diamonds with wide (or narrow) ends already pointing "one way."

JeffMoche

Somersault "Dump" Choice

There's an interesting concept here. Consider it a "pathway" - something to learn, then either fit into one of your routines, or create a routine around. Basically, a copper coin (English penny) disappears. Your spectator has a choice - the copper coin may appear among four half dollars in an Okito Box, or it may not! To learn, or, try, the basic idea you need three half dollars, one copper/silver gimmick (half dollar on one side, English penny on the other), one regular English penny, an Okito Box.

Cause it to disappear by using a "pretend" placment from one hand to the other - and/or lap it. Ask the spectator if he would like that coin to take the place of a silver coin in the box -- or not. The answer

Start with four coins stacked; from top down - a half dollar, the c/s coin silver side up, two more half dollars. Spread these four coins to show four half dollars. Square into a stack and place into the Okito Box, turning over the stack as you do. This places the c/s coin copper side up to third from top. (Another way to accomplish the same thing is not to turn over the stack, but to put the mouth-down box over [covering] the stack, then turn the box mouth up.) Cover the box with the lid. Now,

pick

the

regular

English

is usually "yes." If it is... If you were to normally dump the coins out of the Okito Box, the copper coin would not show. So, remove the lid, pick up the box and hold it mouth up at your right fingertips - between thumb and first and second fingers - in "dump" position. Your second fingertip extends beyond the mouth's rim only slightly more than it normally would. (See Fig. 1.)

penny. â&#x20AC;˘1377-

Now, dump out the four coins from about two to three inches above the tabletop. The left edge of the stack contacts your second fingertip as it leaves the box which causes the stack to do a somersault as it falls! Done properly, the somersault can't be seen, and the stack spreads as it hits the table; the copper coin is immediately visible. (Fig. 2.) The stack just about automatically does the somersault. One or two tries should do it for you. Remember that if you dump from too high the stack may do an extra turn - and then the copper side won't show.

That's about it. If you box the stack with the copper coin up and showing, you can cause a half dollar to disappear, do a normal dump to show four half dollars in the box - the half dollar has changed places with the copper coin. And so on. Afterthoughts: I just wanted to describe the somersault ^ u m p " . If you understand it, and always keep in mind which surface of the copper/silver coin is up, you can dump to show either four silvers, or three silvers and a copper. How to use this in an effect or routine is a challenge to you. Perhaps you'll want to secretly add another c/s coin, or another regular copper, to the stack. Perhaps you'll think of using another Okito Box - with three regular coppers and a c/s - and doing a traveling oneto-the-other routine. If you come up with something good, send it to me - I'll run it in a future issue of Apocalypse.

If the answer to your question is "no," of course, dump the coins normally - only silver coins show. If you don't want to take chances on the answer - don't ask; make it a statement. Say that the vanished copper coin will change places with a silver coin. Or - produce and vanish another copper, and ask the question again.

Doug Edwards

Instant Visible Change point, turn so that your left side is toward your spectator. That's the "angle" I mentioned.

_ is possible that this cannot really be appreciated unless it's seen. It's a beautiful visual change of a card - a "wrong" card to the "right" card. Doug was playing with my Illogical Double Lift (QUANTUM LEAPS; page 3 0 ) ; that and a touch of the Downs Change evolved into this stunner although very little of either remains. Nothing is perfect, however. (Nor should it be; there would be no "room" for variations or handling or presentation changes if there was perfection.) You do hav"e to watch your angles. (Not that crucially.)

In appearance, you sort of "take/toss" the visible 7D with/into your right hand. The instant it's taken it changes to — has already changed to — the "right" card. Let's assume that's the 3C. There is a "swing" to this that really can't be described in print. Just try it and it'll come. It's the work of a fraction of a second, but I'll break it down for you.

Okay; have a card freely selected, then control it to the top. Do your magical gesture (following a false cut, if you like), and say that that usually (and magically) causes his or her card to rise to the top of the deck. Do a double turnover to show a "wrong" card. It's denied, of course. As you act surprised and say something like, "The seven of diamonds (say) is not your card?" hold the double away from the deck. (Fig. 1.) This is not essential; it is done to accentuate (subliminally; without verbalizing, of course) the singleness (?) of the card.

Then place the double onto the deck, stepped all the way (more than three quarters, but that's open to experiment; it's governed by the size of your hand) to the right. It's held in place with your left thumbtip. Your other left fingers are gently touching the back, underside, of the double card. (See Fig. 2.) "What is your card?" When you get the answer, say, "Oh well, that's no problem" - and do the change. At this •1378-

As your hands approach each other, your left thumb lightly rests on the 7D and lightly pulls it back, toward flush position, as your left fingers lightly push the lower card of the double to the right. (Fig. 3.) I've stressed "lightly" because that's important; it's the key to making the change work smoothly. There is no pause during the fraction-of-a-second action. Your right fingers grasp the lower card (3C) at its right long side as your left hand

card (really the 7D) to center, get a left little fingertip break beneath it. Show that the right card has jumped back to the top. As it's being displayed face up on top, secretly and silently reverse the centered 7D and release your break. That's all.

is starting to turn palm down (toward you) to "shade" the 7D. (Fig. 4.) And, again without a stop or pause, your right hand smoothly moves the 3C up to the back of your left hand to rub against that hand once or twice. (See Fig. 5.) As you patter - "It's interesting that you selected the three of clubs (or whatever) because it's a 'magic' card" - the selected card is placed face up back onto the top of the deck, onto the 7D - without flashing the 7D. Easy. From Figure-5 position, simply turn your left hand palm up under cover of the 3C. I. e., the 3C remains practically stationary as your left hand turns the deck face down. It's almost an automatic "move." (Fig. 6 shows the action almost completed; the 3C is almost flush on top of the deck.) You're going to segue right into an ambitious-card move or, perhaps, into your favorite ambitious-card routine. The instant the 3C is flush, move your left thumb to the outer left corner and press down gently. This separates the double card at the inner right corner area. Grasp the double at that area with your right fingertips. (Fig. 7.) Flip the double face down and finish your remark - "...if I place it to center..." Do so - place the top single card (7D) to center, "...it jumps right back to the top!" Flip the top card face up...etc.

Since, in essence, the 7D has "disappeared," you can "close the circle" now with its magical re-appearance. "I know; you're wondering what happened to the seven of diamonds." Do a wide face-down ribbon spread to expose the face-up 7D at center - "Why, it's been right here all along!" As I said, this reversal/reveal is my gilding of the lily. I just wanted to mention it; up to you as to whether you want to use it or not. I don't want to louse up or weaken Doug's very clean and direct piece of magic.

Afterthoughts: It's an excellent change. I wish you could see it performed. But, you will (almost) see it when you do it after some tries. Although you actually take the lower "right" card, it is almost a partial "toss." Remember: Lightly; stay loose. Also keep in mind that the change itself is a rapid action. My little bit of "gilding" - only if you can do a good, silent, reversal of a card at center deck: When you place the supposed right

Doug Edwards/Harry Lorayne - "I Can't Do This Trick!" Richard Vollmer - Aw Gee! Steve Rogers - Central Limit Gary Ouellet - Boomering and, Jim Patton, Salomon Cohn, Jason Krumholtz. . . plus.

Ellipses (...) ! • » • • I have to do is run it in Apocalypse, and before you know it...dealers are selling it - for as much as two to three times the price of Apocalypse. It's happened with a few. One, an effect called Stunner is the cover effect (called The Stunning, Jumping, Jack) of the January, 1986 issue. If you've seen a Barry Stevenson item, called The Incredible Signature, advertised for (I believe) $10.00 - I hope you're aware of the fact that it is exactly Barry's Sign As I Sign... in the February, 1986 issue of Apocalypse! You get it for $4.00 (less, if you're a subscriber) along with The Count Of Mountie Crystal, Follow The Leader Updated, Triumphant Waterfall, Safety Deposit Box, In-Hand Transposition, Impromptu Wild Card Variation (all in the same issue!)., and more. The dealers know where the good stuff is! *** Then there are some magic ads! In one advertisement I saw "visible" spelled "visable" "penetrate" spelled "penatrate" - "its" spelled "it's"...and then - and I love this — the ad says that "great pains have been taken in the writing..." of the instructions for the advertised trick. It would seem as if "great pains" (or any pains) should have been taken in the writing of the ad. Kinda 1 whittles down my desire for the trick!

•1379-

Okay; as I've said before...it's interesting what interests people. Got a few letters pertaining to my remarks about the three people who've shafted me (for "shafted me," read "stolen from me")...in the magic area... through the years. Most said something like - "You mean you've been shafted only three times in all these years!?" Well, they're right - that's pretty good. We're talking about a lot of years. (In my "regular" business, I could tell you a few horror stories.) Well, in magic - there is one more...might as well keep it complete. Guy by the name of Rick Burcher (Texas)...sent me a check. I sent a few issues of Apocalypse into his subscription. Then...his check bounced. All right; it has happened before (there are a couple pending now) - and people always make good. I sent a new bill, including my bank's charge for the "insufficient funds" check. That was about three years ago. I know the post office is slow - but it ain't that slow! (I guess Mr. Burcher still has insufficient funds - not even sufficient enough to pay for the two or three issues.)*** I wrote about my magic books not being published in Swedish (except for THE MAGIC BOOK... in the March, 1987 issue of Apocalypse). Well, my latest book, HARRY LORAYNE'S PAGE-A-MINUTE MEMORY BOOK, will be published in Sweden soon. Not by the same Swedish publisher. Probably be a year or so before it appears there. It's already been published in Italy (in Italian), England, Australia, Bangladesh, British West Indies, Fiji, New Zealand, Uganda, Zambia, Malta, Ireland, Hong Kong, India, Iraq, Kenya, Cyprus, Burma, Nigeria, Swaziland, Singapore, Ceylon, Gibraltar, and on and on (all in English, I think) - and soon to be published in Germany (in German). *** A Teviewer of the Larry Jennings' book wrote — "I would have gladly paid $50.00 for the one effect titled 'Impossible.'" Well, if he was "knowledgeable," he could have gotten it for $4.00 or less. All he had to do is subscribe to Apocalypse. I would have "gladly" sent him that exact effect (see the first two paragraphs) titled, "Can't Be Done," along with magic by Jay Marshall, J. K. Hartman, Shigeo Takagi, Ed Mario, Doug Edwards - and more! Gimme a break! *** Check my thoughts about meeting reports - in the March, 1987 (Ellipsesf...] column) Apocalypse. I've read another good one since then. It says that someone at that meeting did "a variation on Out Of This World called Out Of This Universe"! Where in the world has he been!? And., a great effect where a card is placed to center deck and keeps coming back to the top. Wow! *** Interesting fact: Dick Cardini manufactured some darn good reels. He did the (self) unknotting silk in his act - for many years. But...he never used a reel. He used a thread — attached to one corner of the silk. He stepped on the long thread...that's how he did it. But no reel! *** My book on David Regal' s magic (THE MIRACLES OF DAVID REGAL) may or may not be available by now. I'm continually amazed at how clever, how magical, how good his stuff is. Also available - my first video tape. (A Tannens Stars Of Magic video.) But I would prefer that you get it directly from me. In the States — $69.50 plus $2.50 ($72.00 total) gets one UPS'd to you. Specify VHS or BETA format. If you've wanted to see and learn my Amazing Revelation Display, Invisible Pass Routine, Spread Control, Snap! (rubber band), The Ultra Move, RipStoration (dollar bill), The HaLo Cut, Impromptu Linking Card Routine, and more...now is your chance! © 1986 Al HischteH Drawing reproduced by special

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|oug showed me the effect; it's good and it reminded me a bit of 6-card repeat. It has to do with an extra black card appearing each time the cards in a packet are counted. His original effect is fine â&#x20AC;&#x201D; it also got me to thinking. So, in time, I added a 4-ace different-color-back ending and a theme, an attitude. It changed the concept quite a bit. Anyway, Doug thought it made the effect so much better he insisted that both our names appear with the title. So be it. Set up as I'll explain and then follow along with me. I think you'11 like it; I'm sure you'll use it. Assuming you're using a red-backed deck basical"iy - remove the AC, AS and AH from a matching in size and texture blue-backed deck. From the red-backed deck remove three red spot cards, three black spot cards and the AD. Set these ten cards like this: The three face-up red spot cards; under them, the three face-up black spot cards. And under these six cards set any face-up blue-backed ace, followed by the face-down red-backed AD, then a face-up blue ace and, finally, a face-down blue ace. The order of the three blue-backed aces is

immaterial; Che red-backed AD must be at proper position. I like to keep the AC at the position shown because of my patter when it appears - as you'll see. And I keep the AS where shown; the aces, then, appear in black, red, black order during performance. It just looks better — I think. So, your set-up might look as in Fig. 1. The leftmost face-down card is blue backed; the third-from-left face-down card is the red-backed ace of diamonds.

tra cards!" As you talk, the AH is dealt in downward/overlap condition onto the first tabled ace. But, your left hand has to do a wrist turn so that the blue back beneath the AH does not flash. (Fig. 3; stop action, your view.) This is the only time a wrist turn is necessary. Alter your grip so that the face-up packet is in left-hand dealing position. "Now I'm all right; I have - one, two, three red cards..." This time the cards are shown by pushing off (with your left thumb) into your right hand. The cards move one under the other; in other words, their order is not reversed. "...And one, two, three..." As you push off and count the third black card, bottom-card buckle. That third black card is a double card (the lower card of the double is the face-down A D ) . Another ace shows - the AS, the way I set up. (Fig. 4.) Because the double consists of back-toback cards, there's a "flaring" tendency. Note in the illustration how the left thumb presses down lightly to eliminate flaring. But Doug hides it simply by moving the double all the way to the right as he buckles so that the double (immediately after it's seen) moves beneath the right-hand spread; the left hand moves back to the left to show the ace. (Fig. 5.)

To Perform: The squared packet is face up in left-hand dealing position. (Which hand does what is up to you. I, personally, "hold" in my right hand and "take" with my left. I'm teaching it, however, as I believe most magicians will do it.) Say, "I want to show you a trick with three red cards and three black cards." Start to count (and display) the cards by taking them from the top (face) singly with your right hand. Each is turned face down and placed to the bottom of the packet. It can be called a "duck" count. (Fig. 2 shows the first red card about to be placed to bottom.) The matching patter: "One, two, three — red cards, and one, two, three..." As you take the third black spot card, the AC shows on top. Place the third black spot card face down to bottom, and act a bit surprised. "What's this extra black card doing here?" (I don't mention "ace.") Toss it face up onto the table; don't flash its back, of course (it's blue). "I can't do this trick unless I have three red cards and three black cards. I think I'm okay now." Turn the packet face up - and repeat the "duck" count, as explained - "Now I have one, two, three black cards - good. And one, two, three..." As you take (and place face down to bottom) the third red card, another ace shows on top. (The AH, the way I set up.) Some acting is needed. "What's this? Another extra card and also an ace. I can't do this trick with ex-

You get madder and madder (or more upset) as each ace appears. "I'll be darned...another ace!" Drop it face up onto the table, but below (south of) the first two aces. You want to leave space for the last ace which will be placed to 3rd-from-rear position among the tabled aces. Casually placing this third ace as just explained makes the placement of that last ace more natural looking. (Fig. 6.) Square the in-hand packet and hand it to your spectator! Don't turn over the packet and don't let him do so - the rearmost card is the •1382-

face-down AD. Say, "Please - you count 'em for me; do it just as I did. Turn the first card face down to the bottom — that's it..." And, help him do the "duck" count just as you did the first two times. As soon as the first card is turned face down and placed to bottom, you are "safe." Even if the cards spread a bit and a back flashes at bottom — there should be a back at bottom now. Count aloud for, and with, him. Only three reds and three blacks will show! Take the face-down packet from him, flip it face up, as you say - "Good. Now I can do this trick — because I have three blacks..." Deal the first three cards (blacks) face up onto the table in a left-to-right, not-too-neat, row. "...and three reds..." Deal the next three cards (reds) in a row beneath (south of) the the three blacks. And, the AD remains in your left hand! "I don't understand this..." As you talk, slide the AD to position on the table third from rear, or second from face. (Fig. 7.) Continue your patter line — "I just can't do this trick!"

You've picked up the four aces as you finish your remark. Square, and flip the packet face down - a blue back shows! "But wait; these are blue. I can't do this trick with blue aces!' As you talk, ELmsley Count the cards to show four blue backs; that's why the AD is placed as explained. And - as you end the remark (pseudo angrily), drop the squared face-down packet onto the tabled (sloppily arranged) red-backed cards! (Fig. 8.) Pause for a beat. Then - "Wait, okay... I know a trick with four blue cards; I'll do that one for you!" As you talk, square the tabled cards, pick up the packet, and start to spread off the top four blue-backed cards, as if to take them in order to do the trick. Only three blue cards are there! "What the ; now I have only three blue cards - I can't do this trick!" End. Afterthoughts: If the two face-down decks are nearby, drop the three blue cards onto the blue deck and the red cards onto the red deck. Cut each deck - and you're clean; go into your next effect.

Pause for a beat - then start to turn the six spot cards face down, sloppily, on the table, as you say - "Tell you what I'll do, I'll do a four-ace trick for you, since I have the four aces here anyway." The point here is double edged. You want the six cards face down so that red backs show; that's for contrast for the next step. And, you want a "platform" to get rid of the red card later, as you'll see.

The routine is a fooler - and entertaining. When I do it, I act really exasperated - upset that "I can't do this trick." The acting, of course, is up to you. There are a few strong areas. One is the fact that the spectator counts the "six" cards himself at one point. Obviously, the aces turning blue is another. And, I worked out the simple ending, the silly line about doing a trick with four blue cards, only to clean up. And, interestingly, I've "caught" a few cardmen with it. "The 'vanish' of the fourth blue card fooled me," is a remark I've heard from a few. It's easy to do; learn it and perform it - or someone who has and does will fool you!

Steve Rogers

And one more point: You can flash the AD's back (red) as you table it. I don't - that'd make it too miraculous!

Central Limit

|teve explains this quite well on his own. So, excepting my inevitable bit of editing, I'll let him do the work:

tion. In fact, the presentation is an integral part of the mechanics of the force. You should have a very casual attitude about the spectators' choices. Convey the impression that you do not care what numbers they select. Also, it should be performed at a rather brisk pace; you don't want to allow too much time for your spectators to think about their choices. Generally, it's to your advantage not to inform them that you'll add their choices. Doing so may create a bias in their minds because they'll become aware the final total may be adjusted by controlling their selections. The choices must be completely random and unbiased.

Central Limit is a new concept in forcing that enables you to perform several related effects with cards. (I'll describe how I use it for Paul Curry's Open Prediction in a moment.) It differs from other numerical forces in that you force a range of numbers instead of a specific number. Its single most unique feature is that the number is arrived at in a completely random manner; i.e., it is a random means to a controlled end. This will become clearer as we proceed. The performance of the actual force takes no longer than 10-15 seconds, but in that short time, there is a lot going on - all of it psychological. The basis of Central Limit is that - approximately 90% of the time, the sum of four or five (HL: or three) randomly selected numbers from 1 to 10 will fall in the range of 20 to 30. That's all there is to the force but, like all magic, its success depends on proper presenta•1383-

That's the basic concept; now, an example: Begin by stating that you'd like a few small numbers from 1 to 10 called out, and that you'd like the numbers to be completely random. Say that you'd like to get four, five, maybe six of them called. (HL: I prefer to say, "...a few." That way, I can use three if I have to.)

Point to (actually, this should be more of a "gesture toward") the first spectator, and have the first number called. Write it down, or have someone do it for you. Then, do the same with another spectator. You need to move at a relatively fast pace here, and if it is going along properly now, you should be able to simply gesture toward a member of the audience and get a number called. Repeat until you have four numbers. Be sure to keep your mental subtotal. That's very important; it's your "gauge" that tells you if you need more numbers called. Your objective is to hear four, five, or six small numbers (from 1 to 10) that fall within the 20to-30 range when totaled. After performing this force a few times, however, you'll be able to tell if the total falls into the critical range by estimation - you'll develop a "feel" for it. If the subtotal is within the 20-30 range after the fourth number is called, stop there. If not, gesture toward another spectator and have another number called. There must be no hesitation here. If the four-number total was below 20 (say, in the teens), eight times out of ten, adding a fifth number will put you over 20. If not, then have a sixth number called. There must be no pause in beat when having the additional numbers called. That's why it's important to be adept at keeping a correct subtotal mentally. Since you initially asked for "a few small numbers from 1 to 10," little attention is paid to the adding on of numbers. The choices must be casual, fast-paced - and controlled.

And, it is not going to work every single time. In my experience, it works out about 9k times out of every 10 performances. Once again, your presentation is going to have a big effect on your success percentage. After completing the force, I'll usually "recap" what has been done, saying something like, "We've had several small numbers randomly chosen by some of you. After adding the numbers, we could have totaled almost any value from about five to fifteen. However, the exact total we arrived at could not have been predetermined." Making a statement similar to this (it's a completely true statement) lends power to the effect. I most often use Central Limit for Curry's "Open Prediction." Allow a spectator to shuffle the cards; take them back. Execute a perfect split and glimpse the 26th card of the 52-card deck. (Faro check.) Place the deck on the table, then write the name of the glimpsed card on a slip of paper. Fold it and give it to someone to hold as your prediction. Perform Central Limit to get a value from 20 to 30; say, 28. Now, under cover of handing the deck to a spectator to count down to the 28th card, you'll need to make an adjustment to bring the 26th card to 28th. The fastest way is to break the necessary number of cards from top or bottom, and use a shift to move them to the opposite side of the deck. This example, break two cards from the bottom, then shift to translocate them to the top. The glimpsed card is now at 28th position. Have the prediction opened and read aloud.

Two other situations are possible: Too high or too low. You may find that the numbers are clustered toward the low end; i.e., you may be getting l's, 2's, 3's and A's. One way to solve this problem is to ask if anyone would like to change his or her number. Most often, you can elevate the total into your critical range this way. The wording of the question is important because it's the way in which it is asked that is largely the governing factor as to whether or not the change is made. Remember not to pause here. The brisk pace must be maintained.

Now, have the spectator holding the deck deal one card at a time, face up, from the top of the face-down deck onto the table. When he reaches the 28th card, have him deal it to the side, face down. Let him continue dealing faceup cards until the end of the deck is reached. Tension should build because the predicted card does not appear as the dealing progresses. The realization that it could only be the face-down card builds slowly. To complete the prediction effect, have the face-down card turned over. The card at the position determined entirely by the spectators matches your prediction!

If the numbers are clustered around the high end (8's, 9's, 10's), the same technique can be employed to get a lower number into the group. These methods have a looseknit structure and rarely follow the same pathway twice in a row. The important point to keep in mind is you are simply trying to get a few small numbers that add up to a result between 20 and 30.

Obviously, Central Limit is not the only way to go for this handling of Open Prediction. Any technique of placing a known card at known position in the deck, then making the adjustment , will do.

Again, the success of the force is entirely dependent on its presentation. However, it does have some disadvantages. Some people may bring up the point that you could just ask for a number between 20 and 30 to begin with, but I believe that the way in which the range force is structured gives it a much more powerful impact .

Remember - if you photocopy

PUBLISHED, WRITTEN, EDITED:

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this magazine,

Harry Lorayne

A consideration is that all the uses of Central Limit have in no way been explored, and many magicians may come up with more effective ways to use it. I hope that some will do just that. Afterthoughts (HL): I'm sure some will; it is an interesting concept. And, although this "open prediction" presentation doesn't adhere strictly to Paul Curry's original challenge, it "ain't bad."

you lessen its worth to YOU!

ILLUSTRATIONS: Robert Lorayne C.

..31

Salomon Cohn

Watch the Coin!

The continuity, the flow, of this sequence is what makes it good. I'll explain it exactly as Salomon does it. A coin (he uses a silver dollar; a half dollar or quarter will do) is displayed on your right palm - it's in ClassicPalm position.

empty hands. (See Fig. 3.) I watched Salomon do this a few times, and each time at this moment, the spectator almost automatically touched the shoulder Salomon had squeezed. He thought the coin had been left there! That's the "red herring" I mentioned.

Pretend to place it into your left hand, but really retain it in right-hand Classic Palm. Salomon always reaches over with his right hand at this point and touches the spectator's shoulder. (Look at your closed left hand as you touch his shoulder. The effect is performed basically facing the spectator.) As he says, "Watch the coin, not my hand..." he lightly squeezes the spectator's shoulder. This is a little "red herring," as you'll see.

The reproduction of the coin is pretty, and easy - but it will be difficult to describe in print. It's done during one remark, like, "If you watch for the coin, it will always come back."

As you finish the remark, point to your fingers-up left fist with your right forefinger. (Fig. 1 - all illustrations are performer's view.) "...Because if you don't watch the coin, it will disappear." During this remark your left fist turns fingers down (back up) as your right hand also turns - palm down - to over your left fist. (See Fig. 2.)

Your hands move toward each other and your right fingertips cover the coin. The hands move parallel to the floor as this is done. Time it so that the coin isn't seen, of course. There is no "stop" from here to the end - it's a continual, fluid series of movements. Your right fingers keep moving to the left - sliding the coin over your left hand's little-finger side (See Fig. 4) and into, and up against its palm. (See Fig. 5.) Continue the right hand's movement, to the right now, moving the coin so that it is sand-

8 wiched between the fingers of both hands. (See Fig. 6.) Pressing the fingers against each other, never losing contact, revolve both hands - left hand turning palm up and right hand turning palm down. (Fig. 7 is a stop-action view about halfway through the turn, and Fig. 8 is the completion of the turn-revolve.) The coin is instantly placed (actually dropped - a quarter inch or so) onto the back of your left hand, nearer the wrist. There really is no pause; it's a flowing gesture your left hand opens as your already-open right hand moves to the right. You're displaying two

Slowly move your right hand off the coin, to display it - and to end. (Fig. 9.) Afterthoughts: It's a lovely sequence; the kind ~cTf thing you get a kick out of doing. Go over it, try it, a few times - you may want to use it often.

Boy! Do I have some great magic lined up for you!

Richard Vollmer

Aw Gee!

|ne of the (approximately) 125 items in BEST OF FRIENDS, VOLUME I is Jean-Jacques Sanvert's Moving Up, page 485; it was inspired by a J. K. Hartman idea. Basically, it's a method for showing the (say) red aces on top (of the four aces), placing them to the bottom and having them magically "penetrate" to the top. This is Richard's way to accomplish the same thing. I want to teach it for two reasons â&#x20AC;&#x201D; 1) it's good, and 2) Richard uses it in a routine which I'll teach after I teach this basic idea.

tom, aligning it with the first, outjogged, red ace. You can't flash this one. Slowly square the cards. Repeat the buckle-turnover-block push-off sequence to show the red aces back on top - as in Figure 2! Now, you can repeat the entire "penetration" (upward) - then repeat again. It "sets" itself each time you do it! Compare this with Jean-Jacques Sanvert's method in the above-mentioned book; the differences and similarities are interesting.

This routine has to do with two handsome young men and four beautiful young ladies. (Say the title quickly! ) The inspiration is Peter Kane's The Diamond Robbery, from A Further Card Session With Peter Kane (1975), page 2. And I understand that a similar take-off has appeared in print. I assure you that I had this item of Richard's long before that appearance. In any case, Richard's handling is entirely different than both Peter's and the take-off. Openly remove the four queens and the two red jacks from any deck. The queens are face-up in CSHD order from top (face) down; and the red jacks are face down under the queens. The suit order of the queens isn't crucial; Richard sets them as explained because his patter refers to a brunette and a redhead - this suit order fits the patter - and, the QH will show twice during the one Elmsley Count, and Richard Feels that that one is the least noticeable.

In order to do this the (say) red aces have to be at 1st and 3rd positions from top of the face-down 4-ace packet. You can start with the red aces already at position. A much better way is to have them on top of the black aces. Show, and stress, that. Then, with the packet face down, do an Elmsley Count, as you say, "But if I reverse the cards like this, the red aces are on bottom." What the Elmsley Count does, of course, is to place the red aces to first and third positions!

Okay; display the six cards openly - refer to the queens as four young ladies, 2 brunettes and 2 redheads. The red jacks are two handsome young traveling men. Finally, square the packet and flip it over; a face-up jack shows on top. Say that an "arrangement" had been made. And, at this point, display the red jacks again. Do it like this: Do a bottom-card buckle with your left fingers and move that bottom card to the left as your left thumb peels the top jack onto it. (Fig. 4.) Immediately flip the peeled-off jack face down with the right-hand cards, and drop the right-hand cards onto it. (You've turned the top face-up jack face down to second from bottom.) Flip the top face-up jack face down on top, and immediately deal it onto the table to your left - flipping it face up again as you do. This may seem a bit illogical - turning the top jack face down and then face up again as you table it - but that's how Richard does it, and it "plays." The patter, as you table the jack, is - "This young man went to his hotel room at this end of the corridor."

Snap your fingers, or what-have-you, and show the red aces back on top, like this: Buckle the bottom card with your left finger(s). This creates a space between that bottom card and the top 3-card block. Grasp that 3-card block with your palm-down right hand, thumbtip going into the separation, 1st and 2nd fingertips on top. (See Fig. 1.) Turn the block face up by turning your right hand palm up. As the block is turning, your right thumbtip does a partial block pushoff of the two face cards. When the block is face up, the two red aces show! (Fig. 2; the top [face] ace is a double card, of course.)

Do a quadruple turnover (bottom-card buckle or block push-off) to show the second red jack. Turn down the multiple lift, take the top single card with your right hand and use that card to flip the tabled face-up jack face down (Fig. 5 ) , then place the second face-down red jack(?) to your right. "This young man had a room at the opposite end of the corridor."

Flip the two(?) red aces face down onto the left-hand card, right to left. "I'll do that again." Place the top ace - you can flash it, it's 'a red one - to the bottom, out jogged halfway. You can turn up the as-is packet to show that the red ace is really on bottom, and to display the red/black contrast. (Fig. 3.) Place the next (supposedly) red ace to the bot-

continued next page... â&#x20AC;˘1386-

Continue, "That leaves the four young ladies." As you say this, legitimately reverse count the four in-hand face-down cards. Then, flip the packet face up. Do a delayed Elmsley Count. That is; take the first face-up queen as you ordinarily would. (If you've "set" as suggested, it'll be the QH.) Take the second card, doing the Elmsley-Count "move" - and pause. As you do the above - patter; "A redhead and brunette here - another redhead and brunette are here." (Fig. 6 is the situation at this instant. The card hidden beneath the QS is a red jack; the QH shows again in your right hand.) Complete the count by taking the third queen (QC). The last card, the QH, goes to bottom (rear).

the tabled jack to your left. "These two young ladies went into this young man's room. Would you place your hand on them? That will be the 'door.'" Let a spectator place his open palmdown hand onto the two red jacks. There's no way he can tell how many cards are there, it takes the cards out of sight, and it assures that no one touches them prematurely. As you say, "That leaves the other redhead and brunette," show them like this: Hold the 3card packet at its right long side with your right fingers, thumb on top. As you turn your right hand palm toward you to display the two queens do a block push-off with your thumb. This pushes off the two top cards as one and displays a red and black queen. (See Fig. 8.)

These are placed face down onto the tabled jack(?) at your right. You can either square them first or place them as they are - slightly spread - then square them as you ask another spectator to place his hand (the "door") onto the cards. Turn the squared packet face down. Now do Richard's buckle and thumb-push-off as explained for the aces â&#x20AC;&#x201D; Figures 1 and 2. You'll be displaying a black queen and a red queen. These must be reversed before you flip them face down. Your left thumb takes the face double card (QS) as your right hand places its single card (QH) onto the double. (See Fig. 7.) Flip the face-up cards face down. Push off the top two cards with your left thumb as your right hand apparently squares and takes them from above. Really take only the top card - the second one is stolen back onto the packet. Place this single card (red jack) onto

GARY OUELLET

Only the buildup remains. Talk about the house detective checking the two rooms. And what did he find? In the room at the left he found the two young men playing cards. In the room at the right he found the four young ladies having tea! Match actions to words - turn up the two red jacks at your left and the four queens at your right. Afterthoughts: The routine isn't as long as the description. Everything flows smoothly or should. As mentioned, you might want to look at Jean-Jacques Sanvert's handling of the "ambitious" aces in BEST OF FRIENDS - and also my own variation of it (Moving Up #2) in the same book. Compare them to Richard's method.

BOOMER ING

The Homing Ring, a booklet by Gary, published by Camirand Academy Of Magic (Canada) are six or so methods for causing a finger ring to magically remove itself from a piece of rope and instantly, and magically appear (back) on the magician's finger. The point is that the methods build, each apparently more difficult than the preceding. Gary performs all of them as one routine. All are quite magical. This one, Boomering, is his finale. I liked it a lot and Gary gave me permission to run it here. (I may run the other methods in future issues.) You'll need a length of magician's rope - about 18 or so inches, and a

signet type finger ring. You want it heavy and, most important, it must be large enough to slip easily onto your third finger. It should really be large enough to encircle your finger and the rope. (It's not to wear; it's to use for this effect.) The basic concept of the steal is far from new. What Gary has added is the idea of getting the ring directly onto the finger as the ring is being stolen. The steal used here was originally done as the rope ends were handed to spectators. Gary uses the variation (that appeared as Clifton's Ring Move in Earl Nelson's Variations) of crossing the rope strands over the

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back of the left fist, It will be described as we proceed. Performance: Display ring and rope. Then, thread the ring onto the rope and hold the rope ends in your right hand. (Fig. 1. All but two of the illustrations [near the end] are from your perspective.) Insert your open left hand into the loop (Fig. 2) and move it down onto the ring (Fig. 3 ) . As you reach this position, your hand turns palm down and closes around the ring and the center bight of the rope. (Look at Fig. 4.) All this is really one smooth and continual motion, of course. But, backtrack for a second. As you move from Figure-3 to Figure-4 position (just as the left hand is turning palm down) the left little finger grasps the ring. Look at Figure 3 again and you'll see that this is just about automatic. The ring is held at the "very" left side of your left hand. The point is that you want to be able to drop (release) the ring only by relaxing that left little finger. (Fig. 5 is an exposed view of Figure 4.)

Okay; your right fingers let go of the two rope ends; the strands drape down from either side of your left fist. With your right hand, grasp the right strand (the one at lefthand thumb side) and bring it up and over your left fist (Fig. 6 ) , letting it drape down on the left side of your left fist. The steal happens now, as you move the original left strand up and over your left fist, to the right. In other words, your right hand does the same thing with the left strand as it did with the right strand - criss-crossing the strands on the back of your left fist. So - move your right hand in front of your left fist (Fig. 7) on its way to grasp the left rope strand. It's important for your right hand

to move at a steady, casual pace - i.e., don't make a "move" of this! Note also that the right fingers pass just below the left fist, ready to catch the ring. And, of course, as your right hand reaches the left side of your left fist, release the ring with your left little finger dropping it onto your naturally curled right fingers. (Fig. 8; stop action.) Obviously, there should be no perceptible pause of your right hand. It "catches" the ring en route to the end of the left rope strand. Also, the ring should fall onto (or between) your right second and third fingers. It's just about automatic. Look at Figure 8 again. The rest of the "work" is accomplished as your right hand brings that left rope strand up, over and across - to the right of - your left fist. From Figure-8 position, as the right hand moves, bend your right third finger which again, almost automatically, brings the tip of that finger into the ring. (Fig. 9.) And, as your right hand moves - up, over, and to the right - the ring "drags" along the rope, moving toward the end of that strand. The friction of the rope and the pushing (in) with your third finger actually pulls the ring onto that finger. (Fig. 10.) By the time your right hand reaches the end of the rope strand, the ring is (should be) up to the first joint (or knuckle) of the third finger. (Fig. 11.)

Your right thumb will "finish the job." The instant the rope is free (its end drops out of the right hand) your thumb jams the ring all the way "home" onto your third finger. This is hidden by the back of your right hand and also by the larger movement of your right hand. As your thumb does its work, your right hand is moving back to the left (your thumb has finished its "push" now). Your right hand lifts the rope off the back of your left fist (as in Fig. 12) and, without pausing, moves the rope forward as your left hand opens - releasing its part of the rope. (Fig. 13 is your view after your left hand has opened all the way. Fig. 14 is the spectators' view as the left hand is opening.) Raise your left hand â&#x20AC;˘1388'

palm to audience so

that the fact that the ring is gone registers. (Fig. 15; spectators' view.) Freeze in this position. It may take a few moments for your onlookers to realize that the ring is staring at them from your right third finger!

Afterthoughts: This entire thing takes only seconds tfo perform, but it is strong. Done properly (no pause of the right hand - casual throughout) it seems an impossibility. As I've told you - Gary "builds" to this, so it takes only seconds for his spectators to notice the ring on his finger. I've omitted all patter and presentation - fill in your own; you may have to call attention to the ring on your finger. I've done this with a borrowed ring. I have small thin fingers; when I see a big man wearing a heavy signet ring, I can judge whether it's large enough for me to work with. In either case (your ring, or borrowed), when you remove the ring from your finger - struggle a bit, as you'd ordinarily do. That "sells" the impossibility of it all. Don't overact; if you do, you'll "kill" it.

JIM PATTON

SWIVEL COLOR CHANGE deck - say "six of hearts" again, as your right hand approaches to do the change. The left long side of the clip/palmed card (2S in the illustrations) slides under your left thumbtip. (See Fig. 5.) Your left thumb must remain straight it has to be as straight after the change as it is before the change.

Jim did two excellent color changes for me. I want to teach them both in this issue. Both of them can be used as a control of a card to the top, or - you may want to look at it as a secret replacement of a stolen card. I like 'em better as color changes. Hold the deck face up in your left hand; your right hand rests on it from above - toward the right side. A side-steal action is used to slide out any near-center card; your left fingers slide the card to the right. That card's outer right corner is clipped between the right third and fourth fingers, at the bases of those fingers. The back of your right hand "shades" all, of course. (Fig. 1 is an exaggerated, exposed view. Fig. 2 is a worm's eye view, which should clear it up for you.) Jim called this the Hatton- (or is it Hadden-) Plate clip. I've seen it referred to as a Steranko palm, and I know that Dan Garrett and Dennis Marks use it a lot. (See Dennis' Toss Change in the November, 1979 issue of Apocalypse and his That's Incredible in BEST OF FRIENDS, VOLUME I.) Name the visible face card - 6H in the illustrations. Then swivel cut the entire deck, except the side jogged/clipped card, into your left hand. I have to assume you are familiar with, and can do, the swivel cut. Ordinarily, the top half deck is "swiveled." Here, the entire deck is swiveled. The clipped/sidejogged card will automatically remain hidden in righthand clip/palm. (Fig. 3 shows the swivel cut in progress; Fig. 4 shows the single card clipped [palmed] in the right hand.) Note that the outer left corner of the card can rest on the pad of your right second fingertip. When the face-up deck lands on your left palm, your left thumb rests across the center, width, of the 6H. This is the grip used in The Impossible Color Change (Expert Card Technique.) All attention is on the left-hand face-up

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Okay; your right hand moves to the left; the inside of your right little finger pushes the hidden card flush, directly over the face card of the deck. Your left thumb doesn't have to move (only upward ever so slightly, perhaps, to let the hidden card slide under it).

Afterthoughts: The change is startling when done properly. The swivel cut is disarming and makes it all "play" better. And, you can see how the entire thing can be used to control a "peeked" card â&#x20AC;&#x201D; without the showmanship of the "starfish" spread of your right fingers, of course.

As soon as the hidden card is flush over the deck's face card, suddenly open wide your right fingers - to show the change. (Fig. 6.)

Now, check which follows.

out

Jim's

other color change,

<j\pocalypse Variations Or Additions David Regal likes and performs Mike Bornstein's Four-Instants (March, 1987 Apocalypse). It is a lovely routine. Check it out, learn it, then read on. David likes to keep each king - beginning with the "leader" king (KD) face up. Show the blue back of each king as it "travels," of course - but then flip it face up on the leader packet. And, to clean up - hold the face-up leader packet from above with your right hand. Do a standard peel/reverse/count onto your left palm, one card at a time. One face-up king (double card; indifferent face-down card at rear) remains in your right hand. Casually drop that onto the rightmost face-down tabled packet. Deal the other face-up kings into a right-to-left horizontal row. Try it!

JIM PATTON

SQUARE-UP COLOR CHANGE

This one is not as easy to do (at least, it isn't for m e ) , nor will it be as easy for me to teach. Jim originally developed it as a secret replacement for a stolen angle- (or flat rear-) palmed card. He still uses it for that it is imperceptible in his hands - but he also uses it as a color change; that's also "imperceptible ."

As soon as the card is in rear palm, your right hand re-grasps the deck (if you released at all), but - your right forefinger curls in so that its fingernail rests on the outer left corner of the hidden card's face. Your right hand can (if you like) release every other area of that card; only your forefinger holds it in place. And, your left little finger straightens so that it can rest at the hidden card's inner end. (Fig. 3.)

The deck is face up in your left hand; the right hand rests on it from above, as in the preceding. Any center card is stolen into righthand angle palm. It's a side-steal action. But here, as soon as the card's inner end clears your right thumb, your left second finger pushes the card inward â&#x20AC;&#x201D; to angle-palm position. (Fig. 1 is as exposed a view as I can manage of the action in progress. Fig. 2 is a worm's eye view.)

The part that's a bit difficult for me is "catching" the hidden card's outer left corner with my right forefinger, as taught. I guess my finger has to "learn" to bend in that far. Some attention, of course, is paid to angles. Do it correctly and the back of your right hand will shade the stolen card; your spectator sees only the face card of the deck. All right, now - the change happens in two beats, and it's instantaneous . It's a squaring action, which is why the title. The two actions happen simultaneously or as simultaneously as you can make them happen - but I'll break them down for you. Your left little finger snaps the card outward; it is stopped at the deck's outer end by the right second finger. Your right thumb opens (slightly) and closes so that the card can "clear." Your right thumb ends up back at position. (See Fig. 4.) '1390-

Afterthoughts: That is it. It's the kind of thing you must try - don't just read it, try it - in order to see the possibilities. As I told you, it is an instant and imperceptible change in Jim's hands. And, again, you can see how it can be used to replace an angle- or rearpalmed card.

There is absolutely no pause in performance. Your right hand moves down (sharply) in a squaring action. I.e. - your right thumb and your second finger slide down on - square - the ends, aligning the stolen card. (See Fig. 5.) That's it.

JASON KRUMHOLTZ

KRING PASS

Seems obvious, I know - and I used a ring on my left third finger to create a sound during a pretend placement of a coin - years ago. Anyway, this is worth recording - it certainly won't take up much space. As a matter of fact, excluding my inevitable editing and little additions, I'll let Jason tell you about it:

- (HL: Or lightly toss it) - down into the left hand. Partially open the left fingers to allow the coin to drop directly on top of the head of the ring. (Fig. 1 shows the coin about to be released.) The coin does not spin at all but remains, throughout its flight, parallel to the floor. The illusion is perfect; it sounds (HL: and looks) as if the 2nd coin is dropped onto the first. When the move is complete, just rotate the ring back to normal position at your earliest convenience.

This is my method of performing the Clink pass. A ring must be worn on your left third finger. This ring must have some sort of head on it, and should be made of solid metal; gold, silver, copper, etc. But no diamonds or other jewels can be on it. (HL: A signet ring.) The left little finger stretches over the head of the ring and rotates the ring so that the head is inward, on the palmar side. Two coins are on the table. The right hand picks up one of them and does a retention pass (into the left hand). The awkward position of the ring will not be noticed. Classic Palm the right-hand coin. The right thumb, first and second fingers pick up the second coin. (HL: Jason moves his right hand into Kaps Subtlety position here. If you don't know it, don't worry about it. It's a way of letting part of the palm be seen without flashing the palmed coin.) Drop the second coin

Afterthoughts (HL): I told you it wouldn't take much space. Jason keeps about 12 inches or so between his hands when he drops the second coin. And, it works as well if the first coin is finger palmed rather than Classic Palmed. Play with it.

Ellipses (...) |bout 4-letter words: Just to take care of a loose end, here's the missing word from the tenth line down, back page, of the May, 1987 issue of Apocalypse - "CANE." Can't be helped, and it happens rarely...but occasionally a pasted-on word falls off the master that's sent to the printer. And, "4-letter words" remind me...the first person (who can prove "legitimate" purchase of my video tape - name of dealer bought from, etc.) and who can tell me (by mail) the correct and exact number of times I say the word "look" on that tape -- gets a free copy of RIM SHOTS. (I sometimes latch onto a word and repeat it as would a robot - without realizing it o~E course. ) The tape is doing just fine, thank you...but why haven't you sent in your order!? $72.00 is all it takes. VHS or BETA? Send the check to me. Now. *** I know, I know - I keep saying it, but THE MIRACLES OF DAVID REGAL is getting there; may even be available by the time you read this. David keeps "doing it to me." I've had the book just about "locked", a few times...then he'd show me a mind-blowing routine that I just had to include. It happened again. I had the book locked, and he fooled me with a "wild coin" routine (Simply Wild) that's so good and so easy to do. Well, I'll try to include it. I want to keep the book in the $29.95-$33.95 range (even though it will contain over sixty routines) because I want everyone to be able to afford it - it's that good. If I cannot fit Simply Wild into THE MIRACLES OF DAVID REGAL, I'll run it here - in Apocalypse. Incidentally, if you're in New York City, you can catch David at the Jan Hus Theatre (it's in the seventies, look it up...and check which nights the show runs). He's part of the comedy group, Chicago City Limits. It's not a magic show, but David does some magic in the show that's "on the boards" at this writing... the show does change every so often. *** Appears as if the "Amazing" Kreskin isn't doing too amazingly well as a mindreader cum mentalist...suddenly he's a memory expert, teaching memory. Well, take it from the expert (me!), except for what he stole from me, he has no idea what he's talking about. (Nothing new here, one of my titles is Secrets Of Mind Power...he wrote a piece of nothing called something like, Mind â&#x20AC;˘1391-

Power Secrets. A thief is a thief is a thief is a...) *** A company called The Queen Of Hearts (Texas) is advertising an effect called The Impossible Prediction for $6.00. It's one heck of an effect. It was, and is, a heck of an effect (even better) in the February, 1979 issue of Apocalypse... called A Cut Above, by Marcello Truzzi. As I've told you before...the good stuff is in Apocalypse first. *** Exact excerpt from a letter received: "Last year I visited PD' s magic shop in Ft. Lauderdale (Florida), asked to buy a copy of Apocalypse and was received with blank stares." Whatever happened to knowledgeable people working behind the counters of magic shops? I go back to the days when Jimmy Herpick demo'd for Lou Tannen...he was marvelous. Besides being a great demonstrator/salesman, he could answer any questions re: magic. How could someone "working" a magic shop not know about Apocalypse!? It's known in South Africa, Israel, Japan, Australia, Ireland, Hong Kong, Thailand... and on and on...but not by this guy in Ft. Lauderdale! I know PD knows about it...difficult to get decent help, I guess. Problem is - they know about exploding matches and Joy Buzzers and Whoopee Cushions! *** Renee and I visited The Magic Castle one evening. The first person I saw as we walked into the bar area, was Dai Vernon. (I pronounce his name to rhyme with "day," as do most east coast magicians. For some reason, it's pronounced Dye, to rhyme with "why" on the west coast. I don't know why.) He was sitting in his usual corner, under the hanging portrait of a card player; his eyes move. Dai is 93 years old. After we sat down (Dennis Marks was with us) and ordered drinks, Dai looked at Renee, and said, "It was the Jack Paar Show. I saw it. Harry was calling off all the names - of everyone in the studio audience - and he pretended to forget your name!" He was absolutely right. Renee was in the audience at one of my appearances on the Paar Show; and she stood up with a couple of hundred other people when I said — "Would the few people I've met please stand up." When I came to her, I said, as a gag, "Oh, I forgot your name." Afterward, I said that that was my wife, of course. That was close to thirty years ago! I'd forgotten it; so had Renee. Dai hadn't — ninety-three years old! ***

and he's

We'd gone to Los Angeles on a quick 5-6 day trip - to see our friends Mel Brooks and Anne Bancroft. We hadn't been able to get together for a while, and I was able to "clear" the 6 days so we took off. We spent just about every evening together. And some afternoons. On Sunday, we went to Julanne Griffin's (ex-Mrs. Merv) house. It is a Sunday afternoon tradition, sort of. Friends gather to talk and play tennis. We spent that afternoon with the Brookses, Mr. and Mrs. Carl Reiner (Rob Reiner's parents, for you youngsters), Alan Alda and his wife and daughter, Gene Wilder and Gilda Radner (they're Mr. and Mrs.), Dick van Patten, and others. Mel had just finished shooting his latest movie — Spaceballs ("May the Schwartz be with you"), and was in the process of editing it. He told me that it had taken three months to shoot the film, and could take anywhere from four to eight months to edit it. I'd never seen a film being edited, so Mel invited us to Twentieth Century Fox to see some of that, and to have lunch at the commissary. The editing is a long, but fascinating (to me) process. The film can be "made" during the editing. And, some of it sure looked like "magic" to me. Four or five large rooms are used. In one, the "main" editing is done. The work print is seen on a small screen, Mel tells the man doing the actual cutting and splicing what he wants, and the man does it. Scenes are "tightened," shots can be changed - it's intriguing. In another room, a different guy is editing the special effects. A gigantic vacuum cleaner is sucking up the landscape. Trees are sucked in, so is all the snow covering a mountain. A short while later, the gigantic vacuum is put on "blow." The trees are seen to be blown back to position, so is the snow. Mel says, "The snow is going back too slowly." The guy at the machine says, "No problem - I'll cut out a few frames to speed it up." A few hours later, after a terrific lunch in the Shirley Temple room at the commissary, I see the same shot - speeded up now. Mel says, "That's good; but I want it even faster; just a little." And so it goes - you'll see the final version when you see the movie. In another room, two girls are numbering and filing every piece of film that's been edited out. Every piece is kept, just in case Mel decides to put it back again. It really is fascinating. ***

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 - $k.00 each Overseas subscription - $k6.50 surface mail Subscription - $b0.00 per year (U.S.A. dollars only) - $5k.5O air mail All back issues - $k.00 each, plus pstg. $57.50 airmail to Australia, Japan, So. Africa, Canada & Mexico - $b5.50 surface mail.

etc.

Lofayne's $4.00

VOL. 10 NO. 9

SEPT., 1987

ISSUE NO. 117

|ere's an excellent routine for you. It is a packet effect - an oil and water routine with a strong ending. The basic modus operandi is Mario's Olram Subtlety, which I'll describe briefly at the proper time. I'll teach it just as Walt sent it to me, then I'll teach my own variation which is really the same thing, but can be done "from" any deck. You'll need the following ten cards, all matching in size and back design, of course: Three AS ' s , three AD' s , and the 10S, JS, QS, KS. Set up: Hold the face-up AS's fanned to the right (i.e., the top AS is to the right, the bottom AS is to the left). Place the 10S and QS among the AS' s, moving left to right. Table these five cards face up. Then hold the three face-up AD's the same way and place the JS and KS alternating from left to right. Place the AD packet onto the AS packet. (Fig. 1 makes it all clear.) Square the cards, turn the packet face down, and you're "set." I'll teach it step for step, of course. It should be performed at a fairly brisk pace. 113931

To Perform: Deal the top five cards of the packet, one at a time and face down, into a tabled packet â&#x20AC;&#x201D; reversing their order. You can flash the first and fifth cards, if you like, but don't mention that they're all black cards (AS's) yet. Deal the remaining five cards the same way, forming another face-down packet to the right of the first packet. I like to say, "I'll use five cards here...and also five cards here." And, I do flash the 1st and 5th cards of each packet. Pick up the packet at left (AS packet) and show it to contain five AS's by doing the Olram Subtlety (the actual "move" is done twice as you show each packet) . As you do it - "Please imagine that these black cards represent oiL" This is the first time you mention "black." The Olram Subtlety: Your left thumb pushes off the top face-down card (of the 5-card packet); your right hand takes it and both hands turn palm down (inward) to flash two black cards. (See Fig. 2.) Turn your hands palm up as your right hand deals its single card onto the table and

your left hand deals the top card of its packet onto the right-hand card. (Fig. 3.) For this routine, always deal the right-hand card under the left-hand card.

Drop the right-hand face-up red card onto the left-hand face-up black card, then flip the two-card packet face down onto your left palm. The four tabled pairs are now picked up one at a time and dropped onto the left-hand pair. (As you do, say, "A red and a black" each time you place a pair.) The order, or sequence, of this pick-up is all important. Take the center pair of the horizontal row first, dropping it onto the left-hand pair; then take the "apex" pair the first (not in the row) pair that you dealt; then take the pair at right end of the row and, finally, the left-end pair, which becomes the top pair in your left hand. (Look at Figure 5 again; the ABCD gives you the correct order of the pick-up.)

Continue smoothly. Immediately turn your hands palm down again to flash two more black cards; then turn them palm up and repeat exactly as explained, dealing two cards (one from each hand) onto the two already-tabled cards. Turn the left-hand (remaining) card face up to flash a black, then deal it face down onto the already-tabled four cards. You've shown (apparently) all black cards. In this case, all AS's. (In my handling, following this, you'll flash "mixed" black cards.) Pick up the packet at your right (AD packet) and, as you say, "And please consider these red cards to be water," repeat the Olram Subtlety exactly to show all AD' s. (This is the first time you mention "red.") There are again two face-down packets on the table. Pick them up - left packet with left hand, right packet with right hand. "There's an old cliche that tells us oil and water don't mix. I want to see if that's true. I'll mix some oil and water — a red and a black — here." Deal the top card of each packet onto the table, the left-hand card onto the right-hand card. (Remember; the right-hand card always goes under the left-hand card.) Turn both hands palm down and table the two face-up, squared, packets; turn up the pair of cards to show a red and a black. The face-up packets also show red/black, which is the point of this quick display. (See Fig. 4.)

"They really are mixed at the moment.... look — red, black, red, black, red, black." Matching actions to these words, flip the packet face up and spread to show the mixed condition. You can spread and flash up to five cards; do not reverse their order. Square, then flip the packet face down. Deal five cards from the top, singly, into a tabled packet - you're reversing their order. You can say, "This way, they'd be black, red, black, red, black" as you deal them. Point to the remaining, in-left-hand cards - "And the same here."

Re-table the 2-card packet face down as is (don't switch the positions of the cards). Pick up the packets, one in each hand, and turn them face down - as before. Form three more pairs beneath (south of) the first one in exactly the same way (left-hand card onto right-hand card), moving from left to right to form a horizontal row of pairs. Say, "A red and a black," as you deal each pair. You'll have one card left in each hand. Turn your hands palm down to show the remaining red and black. (Fig. 5; the abed will be explained in a moment.)

"But..." snap your right fingers, or whathave-you - "It seems that oil and water really don't mix!" Match actions to words do the Olram Subtlety exactly as explained to show, apparently, five red cards as you deal them onto the table, away from the first packet. "If the reds are all here, what must be here?" (Indicate the 5-card packet originally dealt, the one not shown yet.) The answer, ,of course, will be — "blacks." Say, "Blacks, of course. But these are the best black cards you can possibly get in a poker game!" As you say this, cleanly •1394-

turn over the black cards, one at a time, to display the royal flush in spades - in proper order! (See Fig. 6.)

spade court cards - t h a t ' d weaken the ending. (And yes; I thought of using low spot cards so that the AS could be shown, and "in play." I feel that using the high spot cards as taught here, i s b e t t e r . )

Lorayne Variation: As I've told you, this is exactly the same thing except that it can be done from any deck - and there's an additional "touch," or two. After careful consideration and experimenting, I use the cards I'll use to teach it. After you're familiar with the concept, you can change one or two cards, or all of them.

When I was showing t h i s to the "boys," i t was remarked t h a t , at the end, the face-down 5card packet of supposedly red cards i s " d i r t y . " That i s , there are two blacks among the reds, and a spectator may grab for the cards. Tony Noice suggested that that s i t u a t i o n be used. I do use i t and, i n t e r e s t i n g l y enough, i t "takes in" magicians. Here's what I mean: Near the end I've dealt the top five cards into a face-down tabled packet ("This way, they'd be black, red, black, red, black") and I've snapped my fingers as part of the magical gesture. Now, I do the Olram Subtlety with the in-left-hand five cards to show a l l reds. I say, " I t seems that o i l and water really don't mix," which is exactly as for the original except I immediately continue - " . . . u n l e s s you're a magician like me!" I wave my hands over the five face-down cards just shown as a l l reds, and turn them face up one at a time (in overlapping condition) - "Then, o i l and water do mix!" (Nothing to hide now; I've displayed the " d i r t y " packet!)

Now I point to the s t i l l face-down 5-card packet, and say, "And what do you think these cards are?" You may get any one of a few answers here, or none at a l l . I usually handle i t as a r h e t o r i c a l question - I answer i t myself. "These are a l l blacks - - but they're the best black cards you can possibly get in a poker game!" (Fig. 8.) And a l l cards can be left on the table for examination'

Instead of the AS' s, use the 10S, 8S and 6C, in that order. Instead of the AD's, use the 7H, 9D, 10H, in that order. Set the four high spades to position as for the original except that you think A,K,Q,J - highest card downward. Moving left to right and a l t e r n a t i n g , skip a value each time. (This is just to help you r e member i t . ) So, the AS/QS a l t e r n a t e among the black cards, and the KS/JS a l t e r n a t e among the red cards. The face-up red packet goes onto the face-up black packet. (Fig. 7 shows the exact set-up.) Square, turn face down, and you're set.

Afterthoughts: You'll have to learn t h i s e i t h e r presentation or handling - and try i t . Then you will see how strong the royal flush "kicker" i s . The reason I use the cards I do in my variation is that different values and s u i t s flash throughout; i t subliminally " s e t s " the concept of five black cards and five red cards.

Go through the routine exactly as taught. I throw in one line as I do the Olram Subtlety to show a l l blacks and then a l l reds (when I say, "Please imagine that these black cards r e present o i l , " e t c . ) . I casually remark that I don't like to use picture cards. The reason: I don't want my spectators to think I was using

If you've set the cards as explained for my v a r i a t i o n , and performed the routine exactly as taught, then a l l will look just as in Figure 8. The Olram Subtlety is excellent, of course, and t h i s i s one of the best applications I've seen. You can change and f i l l in p a t t e r as you l i k e . This is good magic!

You continue to tell me that each issue of Apocalypse is worth at least $10.00. So continue to support Apocalypse and send in your renewal, or new subscription, when due. You save $8.00 when you subscribe. I've talked about receiving subscription renewals late. That is, after that name has been removed from the mailing list. Understand that the January issue each year, each volume, is usually mailed at the end of November. I have to mail it that early (as I do every issueJ if you want to receive it on tim~e~. That's why it's m the October issue that I ask that renewals be sent in at that time. There's no other way to handle the timing. If you don't send it at that time, you do louse up the Tuning, and cause much extra work and expense. . . For the past few years I've inserted an invoice in the October issue. That seems to help. So, it will 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 $U0.00 renewal check. (If you want to send in your $1/0.00 now [without the invoice] that's fine, too!) Please help me keep the price of Apocalypse at $h.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 will find that invoice m 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 lnt'1 Money Orders take so long to reach me. It's $1^6.50 surface mail anywhere; $5b.5O airmail anywhere â&#x20AC;&#x201D; except Australia, Japan, So. Africa, etc. â&#x20AC;&#x201D; there, it's $57.50 airmail -- and may I suggest that out-of-USA subscribers send their renewals now.

DAN FLESHMAN

TWO C & B GOODIES (or is it centripetal force? I'd have to check it out with Bob Elliott!) aids in keeping the small ball inside the left cup; although, actually, its mouth is higher than its bottom for most of this short trip, as you'll see when you try it. As soon as the right cup is about to cover, or nest on, the center cup -- remove the right little finger. (Fig. 3 - the right cup is tilting down onto the center cup and the left cup is "riding" up to nest on the right cup.)

C and B stand for cups and balls. Dan does an excellent cup and ball routine, ending with five (rather than three) large loads. He hasn't given me permission to run that particular routine, but I do have his permission to run these two magical changes; they're right out of his lecture notes. Each is a method for creating a magical - startling - change of a small ball to a large ball. Obviously, I have to assume you have a general knowledge of cup-and-ball moves. #1. Assume that you're in this position: The three mouth-down cups are in a row - horizontal, left to right, in front of you. On top (on its bottom, really) of the center cup sits one of the small "basic" balls. Under the right (your right) cup is one of the large "loads" Dan uses regular size (colored) rubber balls for the loads. In appearance, the left and right cups are lifted, banged together "sandwiching" the visible small ball, nested and raised - to disclose a large ball on the center cup - the small ball is gone! It's instantaneous in performance I'll break it down for you, of course. Okay, then; your hands work together - the left hand picks up the left-end cup, and your right hand picks up the right-end cup. As your right hand picks up, your little finger moves in and under the cup to keep the load ball inside and out of sight. This is a fairly standard idea. (Fig. 1 is a close-up, exposed performer' s view.) Your hands move up and toward the visible small ball and toward each other, of course. As the two cups near the small ball, the left cup tilts its mouth slightly toward the ball as the right cup prepares to strike the ball with its left edge or rim. The idea is to "hit" the ball into the left cup. (Fig. 2; stop action.)

The load ball ends up on the center cup's bottom. The two cups never really completely "nest" onto the center cup. The instant the 3 cups are vertical - even before they actually are - both hands move straight upward to reveal the load ball. The 2 cups complete their "nesting" as they are raised. (Fig. 4.) The small ball is between the two raised cups. That's it; go from there. #2. Only two cups are used for this. The effect is the same as in #1. The load ball is under the left cup; the small ball is seen between the two mouth-down cups. The right cup is empty. (Fig. 5.) Working together, your hands grasp both cups. Move them apart slightly that's the "wind-up" action. Since the cups are not really lifted off the table, your left little finger doesn't have to reach under its cup to hold the load in place. Each cup may tilt just a bit, as in Fig. 6.

The right cup continues the short movement to the left to nest, or start to nest, momentarily, onto the center cup as, without pausing, the left cup "rides" up and tilts mouth down to nest onto the right-hand cup. Centrifugal force

Now, and again, it's an instantaneous action, bring the cups together smartly, almost banging them against each other. It's the rims â&#x20AC;˘1396-

that would bang together - and the clang adds to the effect. In appearance, they bang against the ("sandwiched") small ball. Here's what actually happens in that split second: As the cups come together, your left hand tilts its cup - top part to the left, so that the load ball is rolled to the right. In action, that load ball is just about "shot" toward the right. It hits the small ball, kicking that to the right. The right-hand cup tilts its top a bit to the right. That raises the left side of its mouth to catch, or "take," the small ball! (Fig. 7 is a stop-action performer's view.)

There is absolutely no pause. Your hands immediately move the cups apart to reveal the load ball where the small ball was an instant ago. The entire thing is a fleeting one-two action . Afterthoughts: Both changes are startlers; really^ They're aTso quite easy to do. Just remember that they're both instant, split-second actions. And, obviously, they're not to be performed as separate or complete items - they're part of, or should be part of, a complete cup and ball routine.

FLAUNT I T

GERALD DEUTSCH

you'd (apparently) placed into your pocket that you one-hand top palm the deck's top card - and produce it from your pocket. The two cards have changed places!

B M n t e r e s t l n g little fooler here. It was Bob Hyans who brought to Jerry's attention this standard 2-card transposition effect, eliminating a necessary third double lift - which can sometimes be awkward. The probl'em with that solution is that an indifferent card is left in the performer's right trouser pocket. That's no big deal, but Jerry utilizes that card — and cleans up at the same time.

Look at the first spectator, the one who selected the card before, and "throw" another guess at him. And, again, you're wrong, and also disappointed. At this point, Jerry goes into any strong effect utilizing another selected card. Any quick effect will do. (He uses my Out Of My Control from MY FAVORITE CARD TRICKS.)

Have a card selected, remembered and replaced. Control it to the top. Say that you'll read your spectator's mind — or just guess -and tell him his card. Name any card. (If you happen to "hit" it, forget the rest of this effect! ) When the spectator denies that card, act disappointed, and go directly into the standard transposition effect:

When you complete it, again - try to guess the first spectator's card. And again, you're wrong and, again, you're disappointed. With an air of "giving up" (you just can't guess what his card i s ) , ask for its name. When you hear it, act puzzled. Explain that this is strange ("Twilight Zone") because that card is not in the deck it never was. Hand to hand spread (or table ribbon spread) face up - be sure your hands are seen to be empty - to show that that card really isn't in the deck.

Do a double turnover and have everyone remember the card so displayed. Then turn down the double and place the top single card into your right trouser pocket. Double turnover again - ask everyone to remember the card displayed - turn down the double, and place the top single card onto the spectator's palm-up hand.

Then, openly and deliberately, reach into your pocket with your obviously empty hand and bring out his card!

Take the deck from above with your right hand, one-hand-top-card-palm position, as your left hand waves (magical gesture) over the card on the spectator's hand. It's as your left hand turns over that card to display the card that

MITCHELL SILVERMAN

Afterthoughts: Lovely. The card is brought out o~r the pocket at a time when your spectators will never remember that you were anywhere near that pocket. Simple, but very good!

ANSWER TO ERDNASE (Fig. 1; all the illustrations are performer's view.) You're holding your hand over your working surface, and your spectator is directly opposite you. You can do this either while seated or while standing.

No, all methods for doing a color change have not been explored. And, the reason for the title: Mitchell was trying to learn an Erdnase color change; he couldn't do it (he told me he couldn't do it because his hands are too large! ) but came up with this method as his "answer to Erdnase." It's quite "angly" — it's really a "one spectator," head-to-head effect. I didn't see a thing when Mitchell performed it for me. It's a standard (type) color change with the addition of the magical re-appearance of the original card. You're going to have to try it in front of a mirror.

Name the face card, then wave your open, fingers-apart right hand over the deck, moving from right to left, then toward you. That's- the feint. And, the feint should look as close as possible to the "move," but you won't be able to work on that until you know the move. As you will see, your right thumb should pass over the deck first - followed by the rest of your right hand.

Hold the face-up deck in what - I guess can be called left-hand "dealing" position, but much more forward than ordinarily. When I do it, my left forefinger lies across the approximate center of the deck - underneath the deck.

Okay; one more "wave" and do the change like this: The side of your right thumbtip (or its fleshy pad - again, it's according to the •1397-

palm, in a strange rear-palm position. The left fourth and/or third finger(s) hold the card in place. Move your right hand away, and the deed is done. (Fig. 3.) If your left hand holds the deck at the proper angle, the rear-palmed card isn't seen; your spectator sees only the deck and its face card - and that has changed!

shape of your hand) contacts the face card at about center. You'll have to experiment with this; you'll eventually find the contact point that's best for you - for the size and shape of your hands. No pause; contact the card at about center and push it toward you. The back of your right hand has to "shade" the movement of the card. (Fig. 2.) Continue the "wave," until your right thumb pushes the card down onto your left

Keep your left hand in position, as you say, "The three of diamonds (or whatever card "disappeared" or changed) will come back right here..." You're going to do a strange sort of Han Ping Chien action to make the card "appear" under your right forefingertip -- and against the tabletop. As you say the above, move your right forefingertip to the tabletop to slightly rear and right of the hidden card in a bit of a flourishy movement. (Fig. 4 depicts the end of that movement.) "...Yes; it will appear right here!" As you end the remark, the card does appear "right there." Do the same flourishy "pointing" action with your right hand and right forefinger and with proper Han-Ping-Chien timing, of course, drop the hidden card under your right forefingertip. Or, your forefinger actually contacts the hidden card as it moves toward the tabletop and takes it along. Again, some experimentation is called for. (Fig. 5 is the end result.) Afterthoughts: If your angles are right, and Ff it' s done smoothly and properly, the color change is good. And if the Han Ping Chien "appearance" is done correctly that, too, is good. It sure is something with which to play and experiment. And, what follows is an entirely different color-change (of a selected card) method of Mitchell's. It uses a gaffed card; check it out - it's good magic.

MITCHELL SILVERMAN

ANSWER TO NOBODY

Here's the second of Mitchell's two color changes. You'll need a gaffed card. You'll also have to force a card and control it to a specific position. First, the gaff: Use two cards that contrast; for example, a red spot card and a black picture card like the 4D and (duplicate) QC. Cut the QC in half, across its width. Glue a half QC back to back onto the 4D, but - not exactly flush. Let the top (end) of the half QC project a smidgen, the slightest bit, above the top (end) of the AD. Only the slightest bit is necessary; it's just so your right thumbtip can "catch" it later, as you'll see. (Fig. 1; you can't see the slight bit of "extension" - but you can see what the gaff looks like.) One more thing - with, a razor blade or knife, score the 4D's back across its center just along, next to, the cut edge of the half card. You don't want to cut the card, you want to make it fold in half easily and smoothly later when you do the change. All right; the gaffed card is in your deck with the half QC facing upward. The regular QC is on top or bottom, ready to be forced. Here's the position you're going to have to reach. After the regular QC is forced, it has to be controlled to directly above the gaffed card; the gaffed card has to be brought to the bottom of the deck, half card pointing toward you (the regular QC is second from bottom). Here are 3 ways to do this (there are other ways): â&#x20AC;˘1398-

Mitchell keeps the gaff near center deck, half card pointing away from him. This is optional; he finds the gaffed card more easily by riffling down at the outer left corner with his left thumbtip when the half card is outward. After he forces the QC, he gets a break above the gaffed card and inserts the QC. A break is then obtained beneath the gaff - double cut to the break. The deck is turned now to bring the half card to the inner end. You may prefer to keep it at inner end throughout. Up to you. I prefer the following two methods: 1. The gaffed 4D is at bottom; the half QC is inward. Force the regular QC. As your spectator looks at and remembers the card, get a left little fingertip break above the bottom (gaffed) card of the deck. Take his card and simply insert it into the break via the inner end. Shuffle, keeping the two vital cards at bottom. You can cut, hold break, double cut to the break â&#x20AC;&#x201D; and/or center Hindu Shuffle.

Do not pause; continue turning the deck to bring its face back toward your audience. Your left hand turns to re-grasp the deck with fingers on the face, thumb at back. As it turns the deck, your right hand lets go (Fig. 5) to grasp the right long side the same way. By this time, the deck is almost completely facing your spectators. The fingers of both hands are covering most of the center "demarkation" line. That line can't be seen on a picture card - not from a very short distance. (Fig. 6 is spectators' view.) An indifferent card has magically changed to the selected card!

My preference is 2. Keep the gaffed card anywhere near center, half card at outer end. Force the regular QC. Then - pressure fan the deck, faces toward audience. You will see the half QC (its outer left corner); nothing out of the ordinary is seen from the front. Take the selected card and insert it into the fan, directly above the gaffed card. As you close the fan, get a break beneath the gaffed card or get your break after the fan is closed; then double cut to the break. I like to close the fan first which automatically turns the deck to bring the half card to the inner end. Then, I obtain the break and double cut, etc. If you get the break as you close the fan, be sure to turn the deck after double cutting the two vital cards to the bottom. Now - grasp the deck at center of its left long side with your left fingers on top, thumb underneath. Your right hand grasps it from above; fingers at outer end, thumb at inner end. The fleshy pad of your thumbtip is at the inner end of the bottom card -- on the slight extension of the half card. Raise the deck so that the face card (4D) is directly toward the spectator. (Fig. 2; your view.) Say that that's his card. He denies it, of course. "What is your card?" He says that it's the QC. Say, "Oh," and do the color change: The left hand starts to turn the deck outward, its palm toward you (it is the only way the hand can turn) as your right fingers move off the deck. The right thumbtip, however, does not move off the deck's inner end. It presses lightly against the slightly extended end of the gaffed card which, in turn, starts to fold that card in half. It folds easily; that's the reason for the scoring. (Fig. 3 is the situation as the turn and the folding start. ) Continue the movement until the face of the deck is directly toward you; as you reach this position, your left thumb moves out from under the folding card and grasps the deck's left long side, and your right fingers grasp the deck's right long side. You've folded the gaffed card in half. (See Fig. 4. )

RICH COWLEY

Afterthoughts: Well; that's the best I can do. It's the kind of thing that you have to try before you see the smoothness of it. Of course, you have a lot to do with that smoothness. Work toward turning the deck (not too slow, not too fast) to bring the face of its bottom card toward you and then to bring that (changed) face toward your audience again - in one continual action. And - the folded gaffed card can easily be palmed or copped with your left hand as your right hand takes the face-down deck after the change.

NOW YOU SEE IT

|andle it properly, do the acting right, and this is a lovely piece of impromptu magic. It's a quick and startling way to magically produce a coin that you may want to use for an ensuing routine. (Or, use it as a self-contained [quick] effect.) You have a coin (half dollar or silver dollar) in right-hand Classic Palm. Performance: Reach into the breast pocket of your shirt (or your left trouser or jacket pocket) with your left hand and bring out an "invisible" coin. Casually bounce "it" on your palm a few times. "These are the best coins to carry... they're light, and they never show up on airport metal detectors." Move the "coin" into left-hand French Drop (or Spellbound) position. "Of course, you can't really use it until you shine it up." Move your right hand (coin still in Classic Palm) to the left-hand "coin" and, with your right second and third fingers, rub the "invisible" coin's outer surface - pantomime the "shining" of the

coin. Move your right hand away - look at the "coin" and notice that the shining didn't help much. So, bring your left hand (and the "coin") up to your mouth and "huff" (breathe) on it, as you'd ordinarily do, as if moistening or preparing it for another try. As you're breathing on the left-hand "coin," your right hand lets the Classic-Palmed coin fall into right-hand finger palm. Move your left hand back to position as your right hand approaches to shine it (the invisible coin) once more. This time, load the real coin (just as in a Spellbound routine) from right-hand finger palm to your left fingertips. Continue the shining action with the right fingers for a second or so - then slowly move your right hand away to reveal the sudden appearance of the real coin. (Fig. 1. ) Assume that the coin's "head" (obverse) surface shows. Let your thumbtip snap down to your first and second fingertips - a standard

â&#x20AC;˘1399-

is seen there, too. The effect here is different (and startling) - you haven't made a coin disappear, you've just turned it around to display its invisible side!

kind of dispLay/action - so that the coin sort of pops up to display position between thumbtip on the tail (reverse) side, fingertips on head side. (Fig. 2.) Transfer the coin to right-hand French Drop or Spellbound position, keeping the "head" surface toward your audience.

All that remains is for you to magically make that invisible "tail" side - visible. You are going to bring your right hand (and its invisible coin) to your mouth - to breathe on the coin as you did with the head side (left hand) before. As the hand moves, your thumb moves to the right side of the finger-palmed coin - pinning the coin between the thumbtip and the side of your little finger. (Fig. 3. See my Afterthoughts . ) Then, as you breathe on the invisible coin lift the real (hidden) coin's right edge just a bit with your thumb. Move your right hand back to position as your left hand moves to "shine" the invisible surface with your left fingers. What you really do is to move your left thumb behind the hidden coin and push it to Spellbound position - tail side out. Make this part of the "shining" action. Complete the shining and slowly move back your left hand to show the coin's other (tail) side!

"The problem with shining one side only is that the other side remains invisible." "Prove" the statement - match actions to words. Make it look as if you're turning the coin to its other side with your left fingers, like this: Your open left fingers move in front of the coin to contact the coin's right edge as if to pull the edge toward you to turn the coin. As soon as the coin is covered, relax your right thumb allowing it to fall back into finger palm. Move your left hand back (leftward) simulating the turning-the-coin action — and displaying the coin's "invisible" surface. As your left hand moves away, casually allow it to be seen empty. Tilt your right hand properly and an empty palm

MARK SI CHER

Afterthoughts: It's a clean and quick sequence. Try it - I think you'll want to use it. The only small change I've made is that when I palm the coin in my right hand, I finger palm it with only my second finger. Then, when I get it ready to lift to Spellbound position — my thumbtip goes to its right side, but I hold its left side against the side of my third finger rather than my little finger, as in Figure 3. I find it easier to get it to Spellbound position from there. You'll have to try both ways.

STRETCH OF THE IMAGINATION

knew, when 1 ran it (in the October, 1986 issue of Apocalypse) that Carl Mellish's Banded-Or Not (an excellent idea) would be used by discerning Apocalytes and would elicit variations. J. K. Hartman's "take off" (called Out Of Bounds - Apocalypse; May of 1987) added a simple and wonderful touch an easy way to show that the rubber band really encircled the entire packet (when it actually did not).

it back to position. Keep your left forefinger curled at the outer end, at the band; that will hide the real situation the fact that one card is "free." Of course, you're talking as the above "move" is executed.

Now Mark, a clever young New York magician, has devised this "I know you'll want to do it" routine. Inspired by Banded-Or Not, it utilizes the entire deck - and one rubber band. And it's awfully good. Follow along. Have a card selected, remembered, and lost back into the deck; control it to the top. Flip the deck face up and encircle it with the rubber band - lengthwise. (Fig. 1.) Show that the band goes completely around the deck, then get it back to face-up position. What you have to do now is get the selected (rear) card out of the rubber band. It's easy and can be done imperceptibly. The right hand is holding the deck from above - the fingertips are more to right than to the left. Your left fingers push the rear card to the right - sidesteal action. Your left fingertips are to the right of the rubber band. (Fig. 2 is a worm's eye view of the action in progress.) Your right hand shades all and the instant the card clears the band, pull

Now, as you say something about it being difficult to find his card because of the rubber band, it appears as if you simply turn the deck face down. In the process, the band is moved from around the deck to (only) around the selected card. The "illusion" of nothing happening is excellent. It's easy to do; it may not be easy to explain. Tilt the outer end of the deck downward a bit. Move the left forefinger to under the deck so that it can press upward -- on the back of the rear (selected) card and, therefore, also •1400-

on the band, keeping that strand in place. Now slide your right thumb and forefinger (moving right to left) under the band at face of deck and stretch it upward a bit. (Fig. 3.)

(larger) portion to beneath the right-hand (the smaller) portion (and talk about missing) that the "work" is done. You've got to secretly get the inner right corner of the entire left-hand portion into (above) the rubber band. And it's easily and smoothly done. As the left-hand portion moves to beneath the right-hand portion, open your left little finger - straighten it. Slide it above the band (i.e., between band and face card of right-hand portion). (Fig. 7; what you and the audience see. Fig. 8 is an exposed view from underneath showing the left little finger acting as the guide for the left-hand portion's inner right corner.)

Then, start turning the deck face down by moving its left long side to the right and under the band. (Fig. 4 shows this starting. If the left forefinger wasn't pressing up against the rear of the deck, the rubber band would escape; it'd leave the deck entirely and end up looped around your right thumb and forefinger.) Continue turning the deck face down. (Fig. 5 shows the move just being completed.) Remove your right thumb and forefinger. The band is now encircling only the top - selected - card. And, again, keep your left forefingertip at center of the outer end in order to hide the real situation. This turnover of the deck takes less than a second. Continue talking about the band being in your way. Get a momentary left little fingertip break about two-thirds of the way down and do the best, fastest Classic Pass you can. "So - I'll make the rubber band disappear!" A quick pass does make it seem as if the band disappears. It'd be seen looped around the single card at the outer end, but your left forefinger covers it, as explained. And, here's a pretty convincer -- immediately after the pass, do a face-down table ribbon spread; the band doesn't show! Gather and square. "Now I can find your card. I'll find it by cutting to it. Watch." Cut to and including the banded card - it's difficult to miss! Use the right-hand portion to flip over the top card of the left-hand portion. (Fig. 6. Note that the right thumbtip and forefingertip effectively hide the rubber band.) Your spectator "denies" the face-up card, of course. Flip it face down with the righthand portion. It's as you replace the left-hand

As soon as you feel that corner entering above the band, remove the left little finger and square the deck. A strand of rubber band is now around that corner. It's the position Carl Mellish originally used in Banded-Or Not. (See Fig. 9 for an exposed view.) "Well, I guess I need that rubber band after all. What is your card?" When he names it, say, "Watch!" And then lightly toss the deck (your right hand is still holding it from above) down onto your left palm. The toss/drop should be from about 8-10 inches above your left hand. The tension of the band will make the selected card "flash out" to the right. (Fig. 10.) Say, "Ah - there's the rubber band. And it's around one card." Take it out, turn it over. It's the correct card - and all is clean! You have to move the banded card to the right to clear it - part of the left-hand portion's corner may still be in the band. Move the card to the right and it clears. Sometimes, only the clear outer right corner of the card will move out. Just take it - and move the card to the right. Afterthoughts: Good thinking! At the end, in appearance - The rubber band not only reappears, but it reappears around the chosen card. The reason for Classic Passing more than half the deck from top to bottom (when you make the band disappear) is that getting the corner of a larger block under the band gives you more, and better, tension. I played with the idea and found another way to end - to have the banded selected card appear, suddenly and cleanly. Instead of tossing down onto your left hand, lightly toss the deck leftward onto the table -- causing it to spread. The full banded card appears at center. (Fig. 11.) Some of the block's corner may still be under the band so, again, move the banded card to the right - then turn it face up.

GARY OUELLET

SPONGE BALL SLEIGHT

looks awfully good in Gary's hands. It's a pretend placement of a sponge ball from right to left hand. It has a strong retentionof-vision aspect to it when properly done. Yes, similar things have been in print, but I don't believe it's ever been explained precisely the way Gary does it. It is a simple thing - the kind that's usually very difficult to describe in print. I will, however and as usual, try.

Then - your right hand turns palm down and moves to place the ball onto your left palm. As your right hand moves, let it open, the thumb moving away, so that the ball is held only between the sides of your right second and third fingertips. Place the ball - push it down - onto your left palm, just at the base, the fork, of your left second and third fingers. (Look at Fig. 2.) That's another beat. And note that the ball is still between the second and third fingertips of your right hand.

The sponge ball is lying on your working surface. Pick it up between thumbtip and first and second fingertips of your palm-down right hand. Your left hand turns palm up in readiness to "take" or accept the ball as your right hand turns palm up to display it. As the hand turns palm up, your third finger opens (your fourth finger will probably open too) so that the side of its tip contacts the ball. It's automatic. (Fig. 1.) The pick-up is one beat; the display is one beat.

Now, your left hand closes as if taking the ball. The timing is crucial here, of course. Your left hand closes - and your right fingers (except for the forefinger) close, bringing the ball to center of your right palm. What will help you achieve the proper timing is this: The right fingers do not close until your left fingers start to push them closed. So - your left fingers close as if taking the ball. Their tips contact the backs of your right fingers - and that's when your right fingers start closing. That's a beat. (Fig. 3.) When you actually try this, you'll see how the fingers of both hands close at about the same time, and how that concept (left fingers pushing right fingers) helps to make the timing precise. All your left fingers close, and the right second, third and fourth fingers close, as your right hand moves slightly back (toward you, and upward) and your forefinger points to your closed left hand. (Fig. 4.) The ball, of course, is completely hidden in your right hand. Afterthoughts: That's all there is to it. Keep the rhythm - stay in "beat." I think that then, after you've worked with it for a while, you'll realize how effective it is.

Justin Higham

One By One Or, simply table it without showing both sides. I'm also not mentioning "left" or "right;" when you're familiar with the routine, you'll place the coins to your convenience.

I'll teach this routine in almost "bare bones" form. It's that kind of thing - the kind that you can make important only by your handling; your patter and presentation. The basic effect is that three half dollars change to English pennies, one at a time - the half dollars magically travel to under a playing card. For the finale, the copper coin magically changes to a Chinese coin. (I prefer a Greek coin to fit the last patter line, as you'll see but any strange foreign coin will do.)

Performance: Let both hands be seen to be empty as your right hand picks up the copper and your left hand lifts the card. Nothing is seen under the card because - your left thumbtip rests at its inner end as your hand pushes the card forward until the coin hits that thumbtip. Lift the card and the coin - a version of the Pick-Up Move. Apparently place the copper coin under the card. Really execute a retention pass - pretend placement - of the right-hand copper coin to beneath the left-hand card! (See Fig. 1.)

You'll need four half dollars, one English penny, the Chinese coin, and one playing card. You're sitting at a table opposite your spectators; the Chinese coin is on your lap. Three half dollars and the English penny are on your close-up pad in a horizontal row. The playing card is also on the table; the remaining half dollar is secretly under it. Your spectators are aware of only three silver coins throughout. I'm leaving this to you; you can display both sides of the card, keeping the half dollar hidden - load the coin under it as you table it.

Place one of the visible half dollars into left-hand Spellbound position. Do (Vernon's) Spellbound move. Briefly: Your right hand, with the finger-palmed copper coin, moves in front of the half dollar; your right thumb moves behind the half dollar. Thumb palm the half dollar in your right hand, and as that hand moves 1402-

back - your Left fingertips grasp the copper coin. (See Fig. 2. )

penny with your right hand and appear to toss it into your left hand, really retaining it in your right hand as the Chinese coin goes into your left hand. (Palm switch.) Then, your right hand picks up the remaining visible half dollar and tosses that (really) into your left hand. Move the closed left hand rapidly back and forth, letting the two coins "talk." As you do this -- all attention is on your left hand -- your right hand laps its English penny. After a second or so of "shaking" your left hand, close it tightly to stop that "talking." Also, maneuver the half dollar to "heel" position. (Fig. 3.) It's easier to lap from this position. As your right hand does a magical gesture over the card, your left hand laps the half dollar. Turn over the card with your right hand to display three half dollars. (Your left hand can lap its halt dollar now, if that's easier for you.)

Your spectators see the half dollar change to an English penny. Table the copper coin as your right hand lets the thumb-palmed half dollar move to finger palm. Your left hand lifts the card to show the half dollar under it. Turn the card a couple of times, then take it with your right hand and place it onto the "traveled" half dollar, loading the finger-palmed half dollar. Repeat the pretend placing of the copper coin to under the card. Your left hand does the same pick-up of one half dollar; one half dollar is visible under the card, as it should be. Repeat the Spellbound change of one of the "row" half dollars to a copper coin. As before, table the English penny, then lift the card to show that the second half dollar has arrived. Replace the card with your right hand, loading the palmed right-hand silver coin. There are now three half dollars under the card; your spectators think there are two. At this point, pull your chair closer to the table; your right hand palms the lapped Chinese coin as you do so. Pick up the English

Pause; then say - "I'm just as confused as you are - this trick is all Chinese (or Greek) to me." As you end the remark, open your left hand and let the Chinese (or Greek) coin slide onto the table. It appears as if the copper coin has magically changed to the Chinese (or Greek) coin - and you're clean. Afterthoughts: As I said, I've given you the "bare bones" of the routine. Fill in the entertainment - the presentation. Then, you may use this often. There are a few routines around that bear some similarity to this one. Justin realized it only after I'd had his contribution for quite some time. I'd already laid it out, ready to go, when he wrote and told me about a similar routine or two and that, perhaps, it'd be better if I didn't run his routine in Apocalypse. Well, although that was nice and thoughtful of Justin, I didn't have to make any decisions, it was too late. Best I could do was to squeeze in this paragraph. I believe there are enough differences in Justin's precise handling to warrant its inclusion here, anyway.

I've had the cover item - The Sting - on file for a couple of years. Frankly I was reluctant to give it away. I've been performing it (my variation /version) all that time. Were I a subscriber to Apocalypse rather than its writer, editor, publisher, and general factotum -I'd consider it more than worth the subscription price! Sure - I'm running it in the same issue in which I remind you about sending next year's subscription fee. I'm short, but I'm not stupid!

snimmuC .W luaP

Knihc-A-Knihc

Mike Bornstein

Enlarger

Randy Wakeman Hippie Torrales Sol Stone

Overclock Pocketed! Hot Potato Transpo

Salverio Piacente (dice); Marvin Steiner (Pinochle) plus... Remember - if you photocopy this magazine, you lessen its worth to YOU!

•1403!••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••!:

1986 Al HirschfekJ Drawing reproduced bv specol arrangement with Hrrschfeld s exclusive representative The Margo Feiden Galleries New York

Out Tb Lunch

continued from page 13Uk

IMBB you remember The David Frost Show? It ran here in the United States (he had a show in England at the same time) for quite a while. I appeared with him on many occasions. As a matter of fact, I was the very last guest ever on his show. That is, I was the last guest on the last show of the series. It was a strong spot; wish I had it on tape - I don't.

Good promotion idea. He asked if I'd choose one booklet, memorize the entire thing, and demonstrate my expertise on that subject on his show. I said "of course," and I chose The Bluffer's Guide To Wine. (I remember asking Bob Elliott, who was a student of mine [and one of my instructors] to memorize some facts from the booklet on opera. He did, but never got on the show - time ran out. ) So -- I was on the show with a real wine expert. Also on that show was Jack Gilford (the wonderful comedy actor; he's also a friend); he was to do a quick drunk bit he'd been doing for years.

I did my usual thing -- I remembered the names and faces of everyone in the studio audience. It had to be everyone, because -- what David wanted (remember, this was the last show) was for each person to leave the studio when I called his or her name! He wanted me to empty the studio.

Well - it's showtime! I was introduced as a wine expert (there were some giggles and whispers from members of the audience who recognized me - and knew I was no wine expert). Anyway, the real wine expert, David and I sat down and had our conversation. It worked; I held my own and, most important, fooled and impressed the real wine expert. After our first segment, Jack Gilford did his thing, then sat down with us.

That's what I did. I said, "Would the few people I met please stand up." Four hundred people stood up! David broke in and explained that people were to walk out of the studio as their names were called and as I pointed to each one, and so on. I called their names, they left. The cameras caught the "exodus." It was exciting, good, television. At the end - and this was a bit strange - the studio was empty. There was no applause - strange because I'm used to applause when I'm finished with my "piece."

Then came the surprise; something I hadn't been told about. A wine table was wheeled out glasses, ice, many different bottles of wine, labels covered. And, we were to taste and see who could tell where the grapes for a particular wine were grown - country, area, vineyard, vintage, and so on.

David and I were all alone. I looked at him, and said, "My name is Harry Lorayne and yours is David Frost - let's get the hell out of here." We turned our backs to the camera, put our arms around each other's shoulders, and walked out! It was strong. But - that's not the David Frost appearance I wanted to tell you about. The one I want to talk about had to do with small books called Bluffer's Guides. They were booklets on one-upsmanship, actually. There were six of them, I believe; the Bluffer's Guide to Cinema, Opera, Literature, Art, Wine and Music. The point was that if you knew the contents of one of these booklets, you could hold your own with anyone on that particular subject; it was "instant erudition." David had a business connection with them, and "introduced" each booklet. There was a problem selling and "remember" are synonyms. In the information contained in one lets, the reader had to remember tion. David wanted me to "push" showing that the information could

them. "Know" order to use of the bookthe informathe books by be memorized.

PUBLISHED, WRITTEN, EDITED:

What I had to do here was "wing it;" lots of double talk. But I was getting by up to about the third or fourth (perhaps the fifth or sixth) taste. After that, probably because of the way my adrenalin "spurts" when I'm "on" and because I was not used to mixing wines, the reds, whites, sparkling, I stopped caring where the wine came from or during what year either the wine was bottled or the grapes were grown! Because — and this is the point of this article — for the first, and only, time in my career, I got drunk on TV! It was about then that the real wine expert realized that he'd been had - he knew at this point that I didn't have a clue as to what I was talking about, not so far as tasting was concerned, anyway. We kept tasting, talking and laughing. I gotta' tell you — I've never enjoyed doing a television show quite so much!

Harry Lorayne

may g.o up in 1988; if. you hetm of that is published

every

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ILLUSTRATIONS:

Robert Lorayne

- piddle, add $1.00 to the -iub^cjiiption

byy Harryy Lorayne, y

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62 Jane

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All checks are to be made payable to Harry Lorayne, and mailed to him at that address. Individual issues - SU.00 each Overseas subscription - #46.50 surface mail Subscription - $b0.00 per year [U.S.A. dollars only! - S5U.50 air mail All back issues - SU.00 each, plus pstg. $57.50 airmail to Australia, Japan, So. Africa, Canada & Mexico - $U5.50 surface mail.

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Lofayne's VOL. 10 NO. 10

$4.00

OCT., 1987

ISSUE NO. 118

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the very

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first issue of Apocalypse January, 1978! — I ran David Roth's ChinkA-Chink. So far as I know,

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that was its first, original, appearance. The beauty of the routine is David's way of secretly sliding the coins sliding the coin under the hand's thumb base while it appears as if the hand(s) is "hovering" an inch or more above the tabletop. Paul uses that concept, plus a gimmick (the gimmick is similar to a Tim Wenk [commercial] gimmick) for this chink-a-chink-and-reversal routine. Learn this, do it right, and it can be devastating. (You may feel, as Paul does, that it is stronger for other magicians than it is for laymen. Once you make up the gimmick, you might as well use it "against" laymen and, as I said, it can be devastating.) The gimmick consists of two half dollars soldered together at their edges. So, when it's lying on your working surface - it looks only like two half dollars next to' each other. If you want to try this (I know I would) before you can go out and get the soldering done, use transparent tape to form a temporary gimmick. Before I go into Paul's routine, and for those who never read the "sliding" idea in the January, 1978 issue of Apocalypse - let me talk about that (seemingly) "non-contact" coin sliding. Your open hand - relaxed, fingers slightly spread and tilted upward, away from the

,1405.

tabletop - rests lightly on a coin so that that coin is directly under the hand's fleshy thumb base. (Fig. 1 - as if working with the gimmick. Ignore the rear coin and that's how it'd look when working with a regular [single] coin.)

both hands (the hidden gimmick simply slides along). This is disarming. Move your hands to "rest" position for a beat; "rest" position is to left and right of the square. (Fig. 2.)

o O Move your hand over your working surface, moving (sliding) along the coin. Now raise your hand slightly and you'll see that the coin continues to slide along. The reason for this, of course, is that the fleshy thumb base extends downward farther than any other part of your hand. And - when your hand really is off the working surface, the thumb base still lightly contacts the coin. Practice; you'll be surprised how high you can lift your hand and still slide along the coin.

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Okay - during the routine, this is done with either hand (or both hands). And, when a hand approaches a coin, in order to steal/slide it, it approaches in a sort of "hooking" fashion. It should appear as if you're covering the coin with your fingers when you are actually covering so that it's under your thumb base. As taught in the January, 1978 issue, the hand's movement forms either a letter "C" or a backward letter "C." It wouldn't hurt for you to check out the above-mentioned issue. Paul has added one more thing, and that's a "pinky" base steal/slide; the principle is the same as the thumb-base slide. I think we can get into his routine now. You'll need four matching (the gimmick) half dollars; work on a close-up mat - seated. The gimmick is either on your right thigh or in the right outside jacket pocket. The four regular halves are on your close-up mat. In the illustrations, the gimmick is represented by two attached circles; hidden (under a hand) coins, gimmick or single, are represented by dotted lines. To Perform: The four visible coins should be forward - that is, away from you - on the mat. When ready, obtain the gimmick with your right hand as your left hand "handles" the visible coins. I like to just grab it in my loosely closed right hand; you may prefer to Classic Palm one attached coin - the other one extends toward your wrist. Either way is fine, as long as your hand looks natural - don't make a move out of it! Rest both hands on the table, the knuckles of your hands are down, for a beat or two. Then, as your left hand starts to spread the four visible coins into the standard matrix square (make it a larger square for this; you will need, or want, "sliding" room), move your right fist slightly forward (as your fingers open) allowing the gimmick to slide onto the table; the forward coin should be directly beneath your thumb base, ready for the "slide." This is as described in that January, 1978 issue. In this case, be sure that both coins are hidden. You're in the position shown in the 1st illustration. Finish forming the matrix with

Now, move both hands simultaneously. Your left hand covers the inner-left coin â&#x20AC;&#x201D; thumb base on the coin â&#x20AC;&#x201D; ready to "slide" it. Use either a C or backward C approach, whichever feels more natural to you. At the same time, your right hand does a clockwise "hook" or C approach (slide) to steal the outer-right coin with a "pinky" base slide. Relax (or lift) your right thumb base to leave the gimmick. What you are doing, actually, is exchanging the gimmick (that remains at outer right) for the outerright coin (that slides away under your right "pinky" base). The "pinky" base slide and action are the same as for the thumb-base steal; as mentioned, the principle is the same. And, you may want to pause for a fraction of a second when your hands are at inner left and outer right - to wiggle your fingers (as the magical gesture). Then, continue the action. The finger wiggling can aid the illusion of the hands being above the working surface. You can use it (or not) just before each magical "happening." I have to leave that to you. Move your hands to the sides of the matrix (rest position) to reveal that the first coin has "traveled." (Fig. 3.) Slide your left hand â&#x20AC;˘1406-

to outer-right position and place it over the gimmick, adding (or loading) the left-hand hidden coin diagonally down/left of the gimmick. Your right hand does a counter-clockwise hook (a "C") onto the inner-right coin, stealing the coin to beneath your right thumb base. At this moment, your right hand is hiding/sliding two coins - one at "pinky"-base slide position and the other at thumb-base slide position. Your hands move to rest position. (Fig. 4.) When you try this you'll see that sliding the two coins does not present a problem. Again, simultaneously: Your right hand does a counter-clockwise ("C") at outer right and places (or loads) the "pinky-based" coin to the right (up/right) of the gimmick. A try or two (or a "practice" or two) will show you that you can do this while keeping the hidden thumbbased coin clear; it does not get in the way. Your left hand does a clockwise hook (backward C) at the outer-left coin, stealing it to beneath your left thumb base. Both hands continue to move to rest position. (Fig. 5.) All four coins are seen at outer right; you've just completed the basic Chink-A-Chink effect. But - continue with this startling climax. There is a coin hidden under the thumb base of each hand. Move your left hand to the outerright corner and openly slide the inner/left of the assembled coins to the left - to outer-left matrix position, as you say, "I could show you that last one again..." (Fig. 6.) long)

Slide both hands (the hidden coins go a- toward you - to inner-left and inner-

PUBLISHED, WRITTEN, EDITED:

Harry Lorayne

right matrix positions. Don't pause - leave the two coins at these (inner-left and -right) positions and move both hands forward again. Your left hand passes over the outer-left coin, but does not steal it - that coin remains at position. But - steal the gimmick with your right hand (the thumb base) as both hands immediately move to rest position. Suddenly, there's one coin at each corner; a "flash" reversal has occurred! (Fig. 7.) As it occurs, complete your remark, "...Or we could start from scratch!" Lap the gimmick as your hands move to pick up or change position of the two inner-corner coins - attention on the left one, of course. Go into your next miracle! Afterthoughts: I prefer to lap the gimmick as my left hand moves to the outer-left coin and picks it up or adjusts its position. That takes attention completely away from the crucial area. Then my right hand picks up, etc. , the inner-right coin. Also, you may prefer to do the finger-wriggling - both hands - while your hands are at rest position, just prior to each magical happening. That way there's no pause during the happening. It may be a more "fluid" action that way. You might want to make up the gimmick with quarters (25<ÂŁ pieces). Then you can borrow four quarters and go right into the routine. Because quarters are thinner than half dollars, you may not get the same depth illusion. . You will have to try it and see. Whether you do it with half dollars, quarters, silver dollars or English pennies - it's an excellent routine!

ILLUSTRATIONS:

Robert Lorayne p i

with K

More of the best magic in print today - anywhere!

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, 1988 (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 to deal with the post office! That's why I have to ask you to send in your subscription renewal now. The invoice blank I enclose with the October issue each year seems to act as a spur for many (not all) who usually remember to send their renewals by St. Valentine's Day, or Easter Sunday! And by then, the name is off the mailing list, and three or four issues have already been mailed. The name has to be put back on the list, which costs as much as, or more than, taking it off -- and it creates the extra work and cost of my mailing the earlier issues separately, and on, and on. Help me keep the subscription fee at its present level. It's so simple; just renewal now. The rates arc specified in the subscription box - and on the invoice and return it to me with your check - now. That's all. And, you've helped toward their present levels. This is mainly for started-in-January subscribers. If you after January you, too, can send your renewal now. Then you won't run the risk of save the time and expense of "reminders." You'll also avoid mailing delays.

send in your $40.00 (USA) blank. Fill out the blank keeping costs down and at started your subscription "forgetting" and you will

I don't do big advertising campaigns for subscribers as others do; frankly, I don't have to! This invoice blank can be used to start a new subscription. You'll probably subscribe soon anyway (when you realize that Apocalypse brings you the best magic in print today - bar none) , why not do it now?! (If you've already sent in your renewal for 1'988 [you're a good person), please give the subscription blank to a non-subscriber and it'd be nice if you talked him into filling it out and sending it in!)

Mike Bornstein

IZnlarger

One of Mike's "far out - but good" concepts - this is a platform more-or-less comedy item. The basic effect is that a selected card rises from a cardcase and then instantly enlarges to about four times its size. The idea came to him when he realized that a folded lengthwise giant card is exactly the same width as a regular poker size card. Here's what you'll need to prepare the gaff; once you have made it up, you can use it over and over again. One cheap giant card - the KH. It's best to use a court card. The cheaper the better it's easier to fold, not as thick as the expensive cards. You'll also need a regular KH and a regular cardcase. Trim the ends of the giant card, making it shorter. Cut the ends just to the top of the K in the KH index, at each end. Then, fold the large card exactly in half, lengthwise, and face inward. Mike always trims a quarter inch or less from the upper non-index half. Although not crucial, it allows for a faster "grab" later, as you'll see. And, just where to trim will clear up for you when we get to the illustrations .

The inside of the cardcase has to have some "stuffing." Mike uses a 5" by 5" piece of flat sponge or rubber. He folds it once in half then in half again. This is inserted into the cardcase. You could, if you prefer, put cards in the case instead. Hold the folded giant card, regular KH upward and at the outer end, and insert it into the open slot at the inner end of the cardcase. That slot is up and toward you. The regular flap is up and away from you, all as in Figure 3. (Fig. 4 shows the giant card partially inserted.) Push it in until it passes the case's regular opening about half an inch. It's end will be up against the case's flap, keeping it from closing properly. (Fig. 5 shows how it looks from the front.) The giant card must be pushed up that far so that what protrudes from the inner end can be covered with your left hand during performance. This "package" is on your table (or in a pocket) positioned so that you can grab it with your left hand covering that protruding end of the giant card; that is, the back of your left hand will cover that end as the cardcase's flap covers its upper end. This will "clear" at the next illustration.

Now, the regular KH is glued face outward, to the back of the giant card, flush with the left outer end, covering the trimmed area. Reinforce the fold of the giant card with transparent tape - which also helps keep the normal KH flat against it. (Fig. 1 is the back of the prepared giant card. Fig. 2 is its face. Note now how both ends are trimmed and look at the outer right end of the face-toward-you card. I've exaggerated the quarter-inch trim of that outer right half so that a piece of the back of the regular KH shows. These two illustrations should clear up the preparation of the giant card.) Now; an empty cardcase is also prepared. The regular flap is left as is. But, cut away the flap, the part that tucks in, of the lower flap - the one that's never opened anyway. This is to keep it from "hanging up" the folded jumbo card, as you'll see. Keep that lower flap in place with transparent tape. You might also reinforce other vital areas with tape, as Mike does. But - the slot opening at that lower end of the case has to remain open. (Fig. 3 makes it all clear.)

To perform: Force the KH from the deck that you've been using. Let it be shuffled back into that deck. Ignore the deck now and bring out the "package" with your left hand; your right hand holds it, too. (Fig. 6 is spectators' view; Fig. 7 is an exposed rear view, right hand open for clarity. Note that your right little finger rests at the lower end of the giant card, ready to push up that card.) Ask for the name of the selected card.. Then, make it rise - just push up with your right little finger. (Fig. 8 is the spectators' view.) Pause. Then, as you look toward the back â&#x20AC;˘1408"

of the room, and ask, "Can you see the card back there?" the KH instantly enlarges. The handling: As you ask your question, your right fingers go into the fold of the giant card. The quarter-inch trim makes this easier. (Fig. 9.) In one quick motion, pull the card out and up with your right hand as your fingers and thumb open the fold. (Fig. 10; rear view.) Your spectators see a regular KH instantly change to a giant KH!

10 8 Afterthoughts: It's a funny idea. And a good one. The way it's explained is the way Mike uses it. You can, obviously, change it so that perhaps a wrong card rises and changes to a giant "right" card, or a card rises back to audience and enlarges as it magically turns to face the audience, and so on. Commercial and mfg. rights reserved by Mike Bornstein and Apocalypse.

SALVERIO PIACENTE

DICE TWICE time! (Fig. 2 is a stop-action exposed view. The action takes less than a split second.)

know the first switch or similar ones have been in print before. It's mentioned in Scarne's Complete Guide To Gambling. But Sal does it as it's used under fire. It ain't magic; it's gambling/cheating. The way you use it is up to you. And, it's the way Sal gets into it that makes sense, makes it worth recording.

The gaffed dice are dropped and the house dice are palmed at about the same time, during the same action. And, it must be made to look exactly the same as when you "toyingly" dropped the dice. Now, you don't want to "shoot" with the house dice in Classic Palm. The clean-up at this moment: If it's at a casino, you'd have some chips in your right trouser pocket. If it is a "floating" game, you'd have cash, bills, in that pocket.

You know that many crap shooters, just before "rolling," will drop both dice from fingertips to table from about an inch or so above tabletop. It's a habit or superstition thing. They'll do it until a number they like shows. That's what Sal uses as the "gedinta." The tops or flats or loads (gaffed matching dice) are in right-hand Classic Palm.

Whatever number is up on the switched-in dice (if it's craps, drop 'em again), use that. Say, "Five! I'll bet another twenty (or whatever) on that." And go into your pocket for the money, leaving the dice, of course! It can be made to look perfectly natural. *** Okay; assume you've made as many passes as the traffic will bear, or as many as you think you can "get by with" before someone wants to look at the dice. (Pros aren't greedy!) It's time for the second switch. Between rolls, get the house dice to right-hand finger palm. Now, this switch (and Sal fooled me with it) is done as the visible dice are lifted to shake (and to rattle) just before rolling them out.

Drop the house dice as just mentioned. Do it once, do it again. Do the switch as you pick up in order to drop 'em once more. Pick up by grasping the dice between the sides of right forefingertip and little fingertip, the way you usually pick up a pair of dice. (Fig. 1.) These fingers bring the house dice up to Classic Palm (straight up) as the hand lifts slightly, dropping (releasing) the gaffed dice at the same

Your left arm moves to "rest" position across your waist (slightly above the waist actually). Move it upward, bulging your jacket out a bit. It's automatic, and it needn't be a terribly large "bulge-out." Sal did it for me with a waist length "lumber" jacket. It will work better with a regular jacket. What you've done is to create an impromptu Topit! â&#x20AC;˘1409-

bulge of your jacket! The hand does not stop it continues upward, shaking the dice. Except that you are already shaking the house dice! (Fig. 4 is a stop-action view.) Roll 'em out neat and clean.

Move to pick up the tabled gaffed dice. (Fig. 3.) Now this can't really be explained in print, but I'm sure you'll follow me. Pick up the pair of dice, keep them at your fingertips as your right hand moves up toward your right

Well, that's it. You'd roll the legit dice until you "seven ouc." Your left arm would have to remain at position, otherwise the extra dice would fall to the floor. Easy enough to "clean up" when someone else has the roll, or walk away that way.

Afterthoughts: The second switch is impossible to see when done right. I fooled myself with it the second or third time I tried it. The improvised Topit idea "ain't bad" for magical purposes. Think about it. You realize that I am not suggesting you use the switches in a real game. (Got to put in a disclaimer.) I think Salverio uses these under fire - "for the money." I asked him why he would want to release them, or talk about them here; he'd be letting the cat out of the bag, so to speak. His answer was that the gamblers he "deals" with don't read Apocalypse. I hope he's right!

ear to shake/rattle them, as you'd ordinarily do. It's as the hand moves fairly rapidly - en route - that the gaffed dice are released so that they fly into the improvised Topit - the

RANDY WAKEMAN

OVERCLOCK

|his is a strong layman item - and you will probably fool magicians, too. And as Randy says, "You know darn well I didn't invent the classic clock trick - this is my handling and presentation." He continues, "As far as I know, Ed Mario was the first to feature the reversed card to match the thought-of hour - he had that in The Impromptu Predetermined Hour (Pentagon magazine, 1983). Mine is a 'kinda-sorta' overkill (Paul Harris)-classic clock combination." Okay; there you have some background; now learn this, you'll love it! One card of a regular deck has to be marked. Randy uses a tiny scratch at center of its back. I have to leave this to you, of course. You'll want a mark that you can see easily (because you know what to look for) and which is not obvious to anyone else. Assume you've marked the back of the JH. That card is set at 13th from top of the deck. On the inside flap of the cardcase print - use a marking pen and print in large letters - JACK OF HEARTS. (Fig. 1.)

likes to do, a slip cut to the table with the face-up deck. Don't make an issue over it. Then leave the face-down deck on the table. (It may not be a bad idea to place the closed cardcase near your spectator, as you say, "Please guard this for me." See Afterthoughts.) Say to your spectator, "Please think of any hour - one o'clock to 12 o'clock. Perhaps an hour that holds some specific meaning for you. Don't tell me what it is. Do you have an hour in mind? Good. When I turn my back â&#x20AC;&#x201D; would you take that same number of cards from the top of the deck, and put them into a pocket. If you're thinking of two o'clock, take 2 cards, and so on. Turn your back, and let him do this. When you turn back, pick up the deck, and say, "Now I have to make the clock; I need twelve cards." Reverse count twelve cards from the top of the deck into your free hand. Flip the deck proper face up and drop the twelve face-down cards onto it. This is just a casual way to "set off" separate - the twelve cards; it also serves a purpose, as you'll see. Lay out the "clock" - deal the first card, calling it "one o'clock," to your left, an end (basically) toward you. Continue, forming the circle, moving away from you and then around to your right, counting - "two o'clock, three o'clock" - as you do. Table the cards an end toward you. Be sure to place "three o'clock" at usual three-o'clock position, the same for six and nine o'clock, & the "clock dial" will form pretty precisely. When you come to twelve, table the card to position horizontally, and say, "This is noon (or midnight)." (See Fig. 2.) The deck proper is face up in left-hand dealing position .

To Perform: Shuffle the deck, keeping the top 13 cards intact. You can riffle shuffle under the top 13, or do an overhand jog shuffle, or a face-up center Hindu Shuffle or, as Randy

Important point: Do not look for the marked card as you form the clock. The forming of â&#x20AC;˘1410"

the clock should be done rapidly. Now, explain to your spectator. "Remember; this is one o'clock, this is two o'clock..." As you do, point to each, and look at each. Spot the mark now. It's better, easier, subtler. You're counting aloud, so it's also easy to remember its position. Do so. After you pass it, say, "...and so on." You now know what hour he's thinking of! Assume it's six. "I'll turn my back again. Please look at and remember the card that lies at the hour of which you're thinking." Turn your back - you're still holding the face-up deck. As soon as your back is turned, hand to hand spread the face-up deck (that's why Randy handles it as taught you don't even have to take the fraction of a second to flip the deck face up) and locate a 6-spot. Turn all the cards below it face down, and flip all the cards above it face down onto it -- leaving the 6-spot face up in the (now) face-down deck. Ask, "Have you done that? Do you remember the card at your hour? Okay. Slide all those cards together and mix them up, so that there's no clue at all as to which card you looked at." When he tells you that the 12 cards are mixed, turn back to the front, take the 12-card packet and drop it onto the deck - table the face-down (you may prefer to table it face up) deck. All that remains is the buildup. Say, "I can tell you immediately that you are thinking of six o'clock!" That has to be a minor shock to your spectator. "And, using my sharp psychic powers (?), I can tell you that you're thinking of a red card...a heart...the jack of hearts!" Another shocker. six

"The truth is - I knew you would think of o'clock before you thought of it! Yes, I

SOL STONE

did. Look - I reversed one card in this deck... a six!" Table ribbon spread the face-down deck to expose the face-up 6-spot. Most spectators will not remember, or have noticed, that that deck was ever out of sight. "And I knew you would think of the jack of hearts before you thought of it. That cardcase has been in full view since before we started. Would you open it, read what's on the inside of the flap - show it to everyone." He sees and reads "jack of hearts," of course! Afterthoughts: You can take back the six (this example) pocketed cards when the effect is over, or - let him mix them in with the 12 "hour" cards when your back is turned. Randy doesn't necessarily mention the cardcase at the beginning. You may not want to, either. But my reasoning is: I don't want another magician to think I have "outs" - that I can turn over, say, a napkin, and a different card would be written there, etc. Up to you. One thing I like to do for magicians is to mix the top few cards. (You have a leeway of twelve.) That eliminates suspicion of a set-up. A final thought: Predicting the thought-of card tells another magician that you're forcing the card. You may want to omit it. It is, however, strong for laymen. These are decisions you'll have to make. I've taught it exactly as Randy presents it. The reversing of the correct "hour" card is good; it's a strong touch. Randy mentioned that Ed Mario used the idea before. And - although it has nothing to do with the "clock" concept, I used it at the end of The Mate Trap (QUANTUM LEAPS, 1979). Watch for Randy's new book - Special Effects. It may or may not be available by the time you read this.

HOT POTATO TRANSPO

"Hot potato" describes the action sequence at the end of this quick copper-silver transposition effect. The effect is impromptu â&#x20AC;&#x201D; and it's good. It utilizes Sol's "pretend" take of a coin which I described in his excellent routine - Two-Timing Transpo - in the September, 1985 issue of Apocalypse. I'll simply use the description from that routine when it's time to teach that move (with a slight change here and there; my description in Two-Timing Transpo was slightly "off"). The effect is presented at a rhythmic pace. I'll give you the rhythm, the beat, after I've taught the complete effect.

tips. Your hands are held up in front of you in display position. (Fig. 1; your view.)

I won't include any patter (well, perhaps one line) because you're going to want to supply that yourself. The magic happens fast; so you'll want to be sure to bring attention to the crucial moment(s); you'll also want to be sure that your spectators are clearly aware as to which coin (copper or silver) is supposed to be in which hand. You'll need one half dollar and one English penny. All right; display one coin at the fingertips of each hand. It doesn't matter which is where but, for teaching purposes, we'll assume the copper is at your left fingertips and the silver is being displayed at your right finger-

Now, pretend to take the (right-hand) silver coin with your left 2nd, 3rd and 4th fingers. Only your left forefingertip and thumbtip hold the copper coin. Basically from Two-Timing

'14111

Transpo: It is a lovely move, there's a strong persistence-of-vision aspect to it, and I'll explain it as best I can. It's similar I guess to a John Ramsay move, but the handling here is really all Sol's. In appearance, the silver coin is taken by your closing left 2nd, 3rd and 4th fingers; your right hand really "freezes" during the split-second action.

turning palm down as it moves. And as it moves, your forefinger "pulls" (or slides) the copper coin inward along your thumb - to thumb palm. (Fig. 6 is a stop-action exposed view; remember that the silver coin is still in finger palm.) As the copper coin moves into thumb palm your right fingers open to let the silver coin fall to the table. (Fig. 7. )

Your left hand moves and tilts toward the silver coin. That silver coin is actually surrounded by the "circle" of your left forefinger and thumb. And, an important point: Your left forefinger and 2nd finger are slightly apart so that the silver coin flashes between them. (See Fig. 2, which is a stop-action exposed performer's view; Fig. 3 is your spectators' view at that same instant.) It's that instant flash of metal that creates the persistence of vision.

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 fingertips do not release the silver coin. Its right edge contacts your left 2nd fingertip, which causes the loosely-held coin to pivot counter-clockwise toward right-hand finger-palm position. (Fig. 4 shows this starting.) Note: In Two-Timing Transpo I said that the silver coin's right edge contacts your left forefinger; that's incorrect - I'm describing it properly here... your left 2nd fingertip starts the coin's pivot. Also, the illustration (Figure 4) is more precise here than in Two-Timing Transpo (Figure 9 in that routine).

Showing that the left-hand "silver" coin has changed to copper is done to a rhythmic " 3 " count. The first "beat" is a Tenkai sort of action. You want it to look as if your left hand is dropping its coin onto your (palm-up) right fingertips. It looks exactly like that. The copper coin is in right-hand thumb palm. Your left hand moves to your right hand, opens, and dumps (apparently) its coin, as your right hand does the following: Close your right fingers until the pads of your 2nd and 3rd fingertips contact the thumbpalmed coin. Release the coin from thumb palm so that it rests on those two fingertips as the hand turns completely palm down. (See Fig. 8.) Without pausing, it now turns completely palm up just as your open (palm-down) left fingers appear to "dump." (Fig. 9.) Don't let the turning of your right hand palm down and then, immediately, palm up throw you. It's one fluid motion, as you'll see when you try it. (The action is almost the same as when your partially closed right hand is moving to shake hands with someone to your left â&#x20AC;&#x201D; but turns all the way palm up.) This has been "beat one."

To continue: Simply let the silver coin slide 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. 5 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 coin to between your right fingertips) â&#x20AC;&#x201D; that's all. Work on this "pretend" take; it's good.

Okay; that's the basic description from Two-Timing Transpo. Now, to finish this effect: Your closed (fingers-up) left hand has moved back to the left. Look at it for a beat, as you say, "Ignore the silver coin"...look back to your right hand..."Keep your eye on the copper coin." The entire ending is done just as you complete the remark. In appearance, your right hand lightly tosses the visible copper coin to the table - it changes to the silver coin as it hits the tabletop. And, the silver coin in your left hand is shown to have changed to the copper coin! I'll try to describe it just as Sol does it:

No pause of course, as you go into "beat two": Turn over both hands simultaneously (left hand turns palm up as the right hand turns palm down) dumping the copper coin from right fingers onto left fingers. (Fig. 10.) And, "beat three": Gently toss the copper coin from open left hand onto the table - (Fig. 1 1 ) . That's it. And that's the "hot potato" action - as you'll see when you put together ÂŁhe three "beats." completed next page..

Your right hand moves toward the tabletop, '1412-

Afterthoughts: It's a pretty piece of magic. Once you've locked in the 3-beat rhythm of that last sequence (showing the copper coin) you can consider performing the entire effect to a 6-beat rhythm. 1. The pretend take of the silver coin with your left hand from right fingertips. 2. The placing of the copper coin from left to right fingertips (Figure 5 ) . 3. The toss of the copper coin to the table - it "visibly" changes to the silver coin (Figures 6 and 7). 4, 5 and 6 - as described - the hot-potato display of the copper coin.

POCKETED!

HIPPIE TORRALES !•• watched Hippie "take in" a whole group with this one. The basic effect is that a chosen card magically travels to your pocket, then the entire deck except the chosen card magically travels to your pocket. You have to be sitting at a table opposite your audience because, near the end, an entire deck is lapped. Lapping an entire deck can get messy. So, Hippie made up a gaffed deck that looks and acts completely normal. Once it's made up you can use it over and over again.

break beneath the two top (loose) cards. Bluff Pass to the break. I.e., your left thumb riffles down at the outer left corner as you ask your spectator to say "stop." The "strength" here is that you can riffle down. When you're stopped, your right hand (from above) picks up the two top "broken" cards as your left thumb relaxes to let the opening near center, close. (See Afterthoughts for a bit of finesse on the Bluff Pass' and a slight change in handling.)

Simple; glue all the cards together at the inner end of the deck only. Glue up to about a quarter of the way (or less) at the inner end. Keep the cards squared. What you'll have is a block, except that the outer end (three-quarters of the length of the cards) can be riffled. For practice or "trying" purposes, and to see what it'd look and feel like, you can wrap a rubber band around the inner end of the deck about an inch in. (Fig. 1. I'll show the deck with the rubber band around it in all the illustrations - just so you will know where the glued end is . )

Assuming that's the glued deck, and that you have another regular matching deck - let's prepare. Take any three cards from the regular deck and place them on top of the gaffed deck. Place the regular deck proper horizontally into your left outside jacket pocket; stand one card on end. The point is to make it easy to grab that one card without fidgeting. To Perform: Hippie goes directly into the Bluff Pass to force the third-from-top card. I am talking about the top three loose, regular cards. That's fine; I, personally, like to run those 3 cards to bottom in an overhand shuffle, then double cut them back to the top. Cut one, then the remaining two. No break needed, they will just drop into your hand because they're the only loose ones. This subliminally "locks in" regular cards. Either

way

- get

left little fingertip

Your right hand holds the two-card block (your fingers at the outer end hide the fact that there are only 2 cards) as your left thumb pushes off the top card of the left-hand cards. (Fig. 2.) Raise that hand, faces of cards to spectator and ask him to remember the pushedoff, (apparently) stopped-at card. So, a loose card is seen - to establish a regular deck. The left hand moves back to position as your left thumb pulls back the forced card - and then the right hand deposits its cards (apparently half the deck) onto all. As you say something about his card being lost in the deck, "overhand run" the three top cards to the bottom, as already mentioned. Make it look like a short, regular shuffle. This has brought the noted card to third from bottom (of the loose cards). You can riffle up the outer ends as a magical gesture, if you like. Deck is in left-hand dealing position. Cover it with •14131

your right hand and hold it up near your spectator's face. (Fig. 3.) Tell him to blow on the deck. He does. "Oops - look what you did...you blew your card into my pocket." The actions to match â&#x20AC;&#x201D; hold the deck with your right hand as your left hand goes into your pocket and comes out with the single, back-toward-spectator card (the one you can grab without fidgeting). Put it back into your pocket, flush onto the pocketed deck. As if to confirm, and as the left hand moves back under the deck - dealing position - ask, "What is your card?" Gambler's cop the bottom three cards in your left hand. Easy; no break necessary. Because they're the only loose cards, they just fall to position. (Fig. 4.) As he names his card, table the deck with your right hand. At the same time, go into your pocket with your left hand (and with the three copped cards) and come out with only the top card of the three - the selected card. Display it, of course. Then - hold the selected card in the right hand; pick up the tabled face-down deck with your left hand. Riffle down to center with your left thumb and insert the face-down chosen card. (Fig. 5.) The riffling of course makes it look as if you're handling a "regular" deck. Do not push the card too far down - or it will "jam" into the glued section. You'll want it to stay loose, outjogged about halfway, or a bit more.

That is what it looks like; here is what really happens: As your left hand turns back to "natural" palm-up position, just relax all fingers but the thumb and forefinger. That's all. The gaffed deck will just about automatically fly to your lap as the single selected card remains where it is. At the same instant, your right hand is there to cover. (Fig. 7 is a posed & exposed stop-action view just as the deck leaves the left hand.) Your right hand covers and both hands, and apparently the deck, move to near the spectator's face; again as in Figure 3. Ask him to blow "on the deck" again. He does. "Oh, that's too hard. You blew the whole deck into my pocket!" Separate your hands to display only the selected card. Then, reach into the pocket with your left hand and bring out the regular deck. Effect over. You have a regular deck with which to continue working. You're a bit "dirty" because of the gaffed deck in your lap. If circumstances permit, you can end clean. Instead of taking the regular deck out of your pocket yourself, let your spectator do it. After he blows, display the single selected card, drop it onto the table, then - grasp the lapped deck with your right hand. Start to get up out of your seat as you turn to your right, bringing your left side toward your spectator. Say, "Go ahead, reach into my pocket." Let him reach in and remove the deck as, at the same time, your right hand drops the gaffed deck into your (out of sight) right outside jacket pocket! Clean. Afterthoughts: It's good; lots of magic happening. I' ve made one change. I don't like to hold a break so that I can lift two cards (apparently half the deck) for the Bluff Pass. That's awkward for me. I'd rather lift only one card, as in the standard way - no break necessary. Hippie's reasoning, of course, is that pushing off a card with the left thumb locks in separate cards. It does; but doing it my way locks it in even more. Riffle down in order to do the Bluff Pass. Lift off one card - and then push off the top left-hand card (apparently the stopped-at card), but be sure to push off one more. Two separate, moving cards show. (Look at Fig. 8.) Raise your hand in order to show him the (stopped-at) card.

As you do this, and say, "This is your card, isn't it?" turn your left hand palm down so you can flash it again. Your hand should be resting on the table just at the table's edge. This is to facilitate and "shade" the lapping move that follows. Also note that your left thumbtip and forefingertip are holding the selected card's sides near where the card enters the deck. (See Fig. 6.)

Of course, the noted card is in a different position than if you forced the third card. It's the center card of the three. It will be second from bottom after the "overhand run" of three cards from top to bottom. Work accordingly when you cop the three cards into your pocket. Or, casually shift its position before the overhand run. And, a bit of finesse for the Bluff Pass. I've mentioned in in Apocalypse before, years ago. It warrants repetition because, if I may say so myself, it's good. It "makes" the Bluff Pass. And it's simple. Do the usual left thumb riffle down. You're stopped. And when you are maintain the opening and tilt your hand palm to the right. That is, bring the deck's left long side upward into view, and say, "Right here?" (Fig. 9.) That's it. As your left hand turns back to position, your right hand approaches and takes only the top card as your left thumb relaxes, letting the opening close. It adds a persistence-of-vlsion aspect to the move.

Now, the lapping of the deck - the timing of the action - is really impossible to explain in print. But it's easy - simply common sense. When you do it a few times, the proper timing will be obvious. In appearance, your left hand turns palm up as your palm-down right hand covers the face-down deck. It should look exactly as in Figure 3 - everything covered.

ace

3CK

1414c

Marvin Steiner

Twenty Points Less

Quick, simple and effective are three good adjectives for this. In the card game Pinochle, the JD and QS together is a "meld" called "pinochle," and it counts for forty points. If the same player has the other JD and QS (there are two of each card in a Pinochle deck), that's a double pinochle and that's worth eighty points.

sentence. Then matching your patter to your actions, flip the packet face up (the red ace shows at face) and do an Elmsley Count - displaying four aces! The patter — "But that's twenty points less than these four aces - they're worth one hundred points in Pinochle'"

Marvin uses the Pinochle plot and patter, and that's the way I'll teach it. I'll discuss other ways in the Afterthoughts. Take the following cards out of a regular deck - JD, QS, AC, AH, AS. Set them just that way from the top down; the JD is on top, AS on bottom. Actually, the black aces can be in any order, just put a red ace (either one) between them. Hold this 5-card packet face down in left-hand dealing position, and you're ready to go.

Afterthoughts: Each flip over and down again T o display a card should look about the same. Each is flipped face up, then face down again, with your right fingers, and - done in rhythm, each does look the same. The red ace has to be set between the black aces so that the Elmsley Count looks "right" at the end. If you would rather not use the Pinochle theme, any two cards placed onto the three aces will show twice. If you place, say, the JH and the JC on top, the described count/display will show four jacks. In effect, four jacks instantly change to four aces. I like it using the Pinochle theme; up to you, now.

"There are four cards here..." Spread to show four cards; either spread off three cards and hold the last two cards as one, or - spread off one, then another, then bottom-card buckle to take a double as the third card. Either way, do not reverse the order of the cards. Square. The following display of double pinochle is executed at a fairly smart pace and with a smooth rhythm. Flip the top card face up to display the JD. Flip it face down, as you continue talking, "...one of them is the jack of diamonds." Move it to the bottom of the packet. Flip over the next card to show the QS. "Another is the queen of spades - that's 'pinochle,' and it's worth forty points in Pinochle." Flip it face down and move it to the bottom of the packet as you end the sentence. Without breaking the rhythm, and as you say, "Here's another jack of diamonds..." do a bottom-card buckle which enables you to do a smooth quadruple turnover. The JD shows. Flip the quadruple face down the same way, and move the top single card to the bottom. Do another quadruple turnover, as just explained, to show the QS. "...and another queen of spades. That's double pinochle, and worth eighty points in Pinochle." Turn down the quadruple and move the top single card to the bottom as you end the

The count/display itself is interesting. I haven't researched it at all, so I don't know whether or not it's new; I do know that Marvin devised it for this effect. I've played with it for only a few minutes, but found that it works as well with a 4-card packet. As a matter of fact, with a 4-card packet, I like to reverse the count action. That is, start with a triple turnover, move the top single card to bottom. Repeat. Then - single turnover and move to bottom. Repeat. Just for fun, try this: Set the 6S, 6H, QC, QD from top down. And, holding the packet face down, spread to show only four cards. Then, show four sixes by doing the count/display exactly as taught in the text. Magical gesture; then count/display again reversing the count action. (Multiple turnover first, etc.) It appears as if the four 6's have changed to four queens. I like to do the "reverse" method second because then I can "snap" the last two cards to prove their "singleness." And I set four different suits because I want four different suits to be seen during the two displays. It's a subliminal thing.

go up in 1988 (aftesi thu.A iAAue IA put to "bed"), Ellipses (...)if you ghecuitateAof may. Audi a thing. - please add $1. 00 to the AubAcyiiption fee..

•Jflrobably the best stage magician around doesn't do magic on stage! He's a magic consultant. I'm talking about- Charles Reynolds. He creates the magic, the illusions, seen in Broadway (and other) shows. I sometimes write a piece, while I'm "hot" on a subject, and file it away until I have the space for it. That's what I'm doing with this...I don't think it's a necessarily topical piece. A short while ago (at the time of this writing) I saw a Broadway show called Sleight Of Hand. (The reason I don't consider this topical, unfortunately, is that I doubt very much that the show will be running no matter how soon I run the piece.) Anyway, the best part of the show - no contest - was the magic. That's Charlie's department. He makes the magic integral to the show, always done with taste; the magic fits, flows and fools. It's never "Let me show you a trick... here's another one..." etc. His pacing is excellent. And the magic will fool you. Charlie sure knows what he's doing. He was the magic consultant for all the Doug Henning television specials and for Henning's Broadway show, Merlin. He created/directed Blackstone on Broadway, and "does" Harry's (major hotel room, and other) appearances. Charlie and his wife, •1415-

Regina, do (marvelous) books about magic, he's received many awards for his originality, creativeness - and on and on. If you want to be a stage magician - do a stage act - save all your money, hock whatever it takes to accumulate whatever amount of money is necessary - and go to Charles Reynolds. He can make a great stage magician out of my wife! *** Scotty York called to tell me that he gets something useful and practical out of every issue of Apocalypse (even if it's only a line of patter!). He's a working magician...it becomes quite important to him. He raved about Magic By The Number (Gilles Couture - April, 1987 Apocalypse). He does magic at a bar ("tends" the bar, too) and he told me he did the effect at least fifteen times the night of the day he received the issue. He uses a miniature Seagram's Seven bottle. Perfect. It blew people away. Scotty is a bit incensed about a new magic magazine. He said, "...I have to crumple it up and throw it against the wall!" (That's an exact quote.) Not much magic in it...and, interesting, in one issue - every effect was one I had rejected for Apocalypse. Another pretty relevant comment from Scotty..."And who are those young whippersnappers (his word was not quite as kind) telling me how to be successful!?" He's right, you know. What he and I have forgotten, and what I've written about in my Out To Lunch columns for ten years, those young "whippersnappers" will probably never know. (I get many, but here's one other exact quote - "Apocalypse is truly the best close-up magazine - period! Nothing runs it even a close second.) *** Isn't Overclock not available. It's fect he uses my HaLo and in a dozen or so

a heck of an item? When available now - and what Cut, and says, "A Harry issues of Apocalypse..."

I wrote it Randy's new book, Special Effects, was good stuff it contains. Funny piece...in one efLorayne idea described in 47 of his last 44 books (I'll keep doin' it 'till I get it right, Randy!)

Watch for David R. Harkey's book - David Ray On CUE (CUE is an acronym for close-up entertainment). It'll be a while before it's available, I imagine, but from what I've seen/read of his magic, it's worth the "watching." You might also watch for an item or two of his right here in Apocalypse. The David Regal book is now officially titled, STAR QUALITY (because David and his magic have just that). It's, hopefully, "out" by now. David keeps giving me new, terrific stuff - and that's the "holdup." There's an over-the-telephone trick in it now that will make you call all the people you haven't called in years! *** Can you punctuate the following so that it makes (some sort of) sense:

that that is is that that is not is not is that it it is I'll run the answer a few issues from now. *** Bob Elliott talked me into doing a lecture for his group. When he drove me there, we had some time to reminisce. Bob was one of my instructors when I ran The Harry Lorayne School Of Memory. He reminded me of three of my students whose names were difficult to forget. Miss Sunshine Bright was a lady in her seventies, who was taking the course to help her get through law school. One guy always signed in as S. Hammer. We found out his first name was Sledge; really. And...there was King Solomon! (I did a TV show in England. One of the legitimate names I had to remember [in the studio audience] was Mr. Valentine Card!) *** Heard that when Ted Annemann was broke and needed to earn some bucks, he'd run ads in forthe-public magazines for his book titles, like - 202 Methods Of Forcing and Shh, It's A Secret. The little "con" was this line - "Mailed to you in a plain brown wrapper"! Think about it. Wonder if any of my titles would work!? MY FAVORITE CARD TRICKS would if the word "card" was taken out. REPUTATION-MAKERS? Hmm. *** When Neil Simon (The Odd Couple, Brighton Beach Memoirs - and so many others) said that he typed his own stuff, someone asked how fast he typed. "About a hit a year!" was Neil's reply. ***

^ ^ ^ >

Remember - if you photocopy

this magazine,

you lessen

its worth to YOU!

^^^

Wi1XÂťWiW4aiim is published every month by Harry Lorayne, at: 62 Jane St., New York, N. Y. 1001k. All checks are to be made payable to Harry Lorayne, and mailed to him at that address. Individual issues - $h.00 each Overseas subscription - $U6.50 surface mail Subscription - $b0.00 per year (U.S.A. dollars only) - $5^.50 air mail All back issues - $b.00 each, plus pstg. $57.50 airmail to Australia, Japan, So. Africa, Canada & Mexico - $U5.50 surface mail.

etc.

Lotayn&s $4.00

VOL. 10 NO. 11

$4.25 starting with the Jan., 1988 issue

NOV., 1987

ISSUE NO. 119

GILLE COUTURE

and you will need two, or four, playing cards (according to the kind of matrix routine you do as you'll see in a moment.)

|hat this really is, is MacDonald's Aces done with coins! Magic dealers will love it they'll sell lots of c/s (copper/silver) coin gimmicks. Because, in order to perform the routine you'll need six c/s coins. (I know some magicians who've had six or more lying around for years. Now they'll be able to use 'em.) And you'll also need nine regular English pennies (coppers) and one regular half dollar (silver). Your best bet is to work on a close-up mat; oh,

The coins are arranged in two stacks before you start. A 4-coin stack of apparently all silver coins on your working surface - in front of you. The stack really consists of from top down (although it can be revers-ed, if you prefer) - three s/c's and the regular silver. (For this description, s/c will mean the gimmicked coin is silver side up; c/s means it is copper side up. The larger stack (this can also be reversed) consisting of the nine regular copper coins followed by three c/s's - is visible, but off to one side. The 4-coin stack appears to be all silver coins; and the 12-coin stack appears to be all copper coins. 114171

Your hands work simultaneously as they "gather" moving away from you, stacking the regular coppers onto each row's s/c coin. Turn your hands palm up (without turning over the coins) allowing the coins to spread on the fingers of each hand - display position. You want your spectators to clearly see three coppers and one silver in each hand. The spreads are lying more on your fingers than on your palms. (Fig. 3; in performance, the coins would be farther down on your fingers than shown here.)

To Perform: Spread Che four silver(?) coins into square formation - then do your favorite matrix (assembly) routine! This is awfully good because - Gilles discovered that only the upper surfaces (in this case, silver surfaces) are seen during a matrix routine. (Make sure that's so, of course, and this is why you need either two or four cards. There have been enough matrix routines taught in Apocalypse. Check the indexes.)

Close both hands at the same time - turning over the two stacks of coins (that's why you want the spreads lying on the fingers of your hands). Do a magical "wiggle" with each hand (or any gesture you like), then open your hands and let the coins slide onto the table in front of you. Be careful, of course, not to let any coins turn over. Keep your hands just at tabletop level, and that shouldn't be a problem. In appearance, the two silver coins have disappeared.

When the matrix routine is done, toss the cards aside and spread the four silversf?) into a left-to-right horizontal row; they should be closer to the outer edge of your mat. The regular silver coin is at your left end of the row. Say something to the effect that you will use more coins now - as you slide over the 12-coin stack of copper coins, and spread them beneath (south of) the silver coins. (Fig. 1 would be your view — turn it upside down and it's the spectators' view.) Arrange the copper coins in downward rows; three beneath (south of) each silver coin. The three c/s's, of course, are beneath the real half dollar, at your left. (Just as in MacDonald's Aces where the three double-faced cards are with the regular ace, etc.) It all looks as in Fig. 2; the upper left-to-right row, the one that contains all silver(?) coins, is closer to your audience. "Gather" the left-end vertical row by sliding the regular silver coin onto the 3 c/s's. (In other words, gather moving toward you.) Let all the surfaces - one silver, three coppers be seen (flash them), then place the stacked coins under a playing card. But, as you do — secretly turn over the entire stack. No problem at all. As your right hand covers with the card your left fingers turn over the stack. If you don't want to use a card, put the four coins under a spectator's hand - turn the coin stack the same way; the hand is your cover. (The 4coin stack is your "leader" stack.) What you're going to do now is cause the silver coin in each of the three remaining rows to disappear. (Eventually you'll show that they have traveled to the leader stack, of course as in an ace-assembly routine.) The first two silvers "travel" at the same time. Gather and pick up any two of the three remaining vertical rows, one row in each hand.

All these copper coins (8 of them) should be lying haphazardly on your working surface. But make sure that one of them - a regular copper, not a c/s - is slightly toward you and to the left. That is, it's a bit apart from all the other coins. Casually move it there if you have to. And you must be sure it's a regular copper coin. This is done in preparation for the "vanish" of the last silver coin. And that "vanish" is very good when done properly. It's a matter of simple timing - most of which I'll have to leave to you. Call attention to the remaining vertical row - one silver (s/c) and three coppers. Pick up the three coppers - one at a time - with your right hand and count them into your left hand. Your left hand stacks the three coppers. As your right hand moves to pick up the remaining silver coin (the s/c, really) and does pick it up - all attention, including yours, is on that coin - your left hand casually, and secretly, lowers its 3— coin stack onto that tabled single and separated copper coin. (Just a slight body turn to the right makes this a natural-looking action.) And leave the (now) 4-coin stack on the table; if you bevel it slightly forward, no one will be able to count the coins. (Not that anyone should want to, or even know about that stack.) (See Fig. 4.)

•1418-

There's no perceptible pause here. Your right hand picks up the 4-coin stack - nobody knows how many coins are in the stack - & drops it into your left hand which, supposedly, is holding the last silver coin. (Do not try to hide this, particularly - just do it.)

Apparently place the one silver coin (be careful not to flash the copper surface) from your right into your left hand. What you really do is a "pretend" placement; the coin stays in your right hand. Gilles gets it into Hofzinser Palm (I believe it's called); that is, lying on the inside of the right thumb grasped between the crease and base of that thumb (that's the approximate position) - the copper surface is toward the thumb. (Check out "Okay" Coin Change in the December, 1986 issue of Apocalypse for a detailed description.) You'll see this (partially) in the next illustration, but if you don't want to use it, a regular thumb palm will suffice .

All that remains is the buildup. Squeeze and/or wiggle your left fist. Then, open it to display four copper coins. These are all regular coppers - so take advantage of that fact. Display each one, both sides, as you drop it onto the table among the other scattered-about copper coins. This sequence - the "vanish" of the last silver coin - is really quite effective when it is done properly. As I said, it's the timing that's important. Try it a few times - until it all flows. It should appear only as if you're tossing a "few" copper coins into the left hand to join, and magically affect, the silver coin.

Now, keeping your attention on your closed left hand, your right hand moves to pick up the 4-coin stack you created a moment ago. As your right hand is picking up the stack, it secretly leaves (drops) the thumb-palmed coin (copper side up, of course) onto the table. (Fig. 5.) It isn't noticed because of all the other scattered-around copper coins.

To end: Magical gesture as you make a remark about the "traveling silvers," & move the "cover" card downward off the original (leader) four coins, spreading them as you do - to display four silver coins! (Fig. 6.) Afterthoughts: Don't omit the matrix routine, any matrix routine. It's a good lead-in and it strengthens the assembly effect. Dig out (or get) six gaffed coins and try this; I think you'll want to use it. Of course, when the routine is over, scoop up all sixteen coins and pocket them, or drop them into your case.

PETER PELLIKAAN

UTILITY SPREAD

It's interesting - I've had a few new and different (I think) 5-card spreads (hiding one card) on file for some time. Now, I've received this from Peter (he's from Holland). I'll teach his just as he sent it to me (although I admit it's impossible for me to refrain from changing or adding to the handling just a little bit). Then, in Utility Spread Plus, I'll teach some of my own ideas.

left-hand cards, stepped to the right. (Look at Fig. 1.) Place the last single card onto the left-hand cards, in spread (to the right) condition.

Turn face up the center card of a facedown 5-card packet. Hold the packet at center of its left long side, thumbtip on top, fingertips underneath. Do a block push-off of all but the bottom card with your left thumb. Peter now does a "thing" which I don't think is necessary (but you may want to use i t ) . I'll let him say it in his own words. As your left thumb does the 4-card block push-off... "The middle and ring fingers let go of the cards so that now only the index and little fingers hold the cards at bottom. Pull the thumb back a little and, at the same time, put pressure on the cards. The following will happen: The three other cards will jump out ('squeegee' out) from between (the top and bottom cards) so that you can catch them between thumb and fingers of the right hand. (Be careful that the cards don't slip.)" At this point you'll have two cards spread in your left hand and a 3-card block in your right hand. Do a block push-off with your right thumb, and take the 2-card block onto the two

â&#x20AC;˘ 1419-

That's it - done casually, you're simply showing four face-down cards. Try it. As I said, I don't find it necessary to do the "squeegee" thing as Peter does. After pushing off the 4card block with my left thumb I grasp it at the center of its right long side with my right fingers. By tilting that block upward a bit and pulling back and slightly downward with my left thumbtip, I can simply peel off the top card of the block. (Fig. 2.) That's all; take that onto the left-hand card, then do the block push-off with your right thumb. Take the double card on-

to the left-hand cards, then take the last single card onto all. You've hidden the center card. Learn the peel-off depicted in Figure 2 because I'll refer to it later.

n U

Afterthoughts: It's quite good whichever way you do it. But I think you'll be interested in my handling(s) of the same kind of count, plus much more, in the following item.

you overlooked the subscription-renewal invoice that was enclosed with the last issue (in the September issue for out-of-USA subscribers) - or forgot to send it in with your renewal fee - if you are a started-in-January subscriber, please send it in now (your refee that is, with or without the invoice). Envelopes, labels, etc., are being prepared nenewal v now. Please make life easier for both of us - you won't miss any issues, and I can get my record-keeping done in time. Send in your $42.00 subscription renewal now. Out-of-USA subscribers now please be sure to check the subscription box for the proper rate, surface or air mail, to your part of the world.

Please don't take these reminders personally. If you've sent in your renewal, they're not meant for you, anyway. I cannot send personal reminders; avoid headaches for both of us - DO IT NOW!

HARRY LORAYNE

UTILITY SPREAD PLUS

What I had on file was a short manuscript on spreading five cards as four as an in-hand display, and how to use the same spread to lay down four cards - one of those, of course, being a double. And, the same thing on spreading and laying down four cards as three. One of the 5-as-4 methods is quite similar to the preceding. Anyway, I've shortened the manuscript considerably to make it fit here. (You might also check Edward Mario's laydown methods in BEST OF FRIENDS, VOLUME II - After Rhod and After Rhod, Continued.) 1. a) Hold a 5-card packet face down; the bottom card is face up. To spread the 5 cards as 4 and hide that bottom face-up card, all you need do is spread off 3 cards. The lowermost card is a double, b) Or, peel off 3 cards and place the final double card onto the first 3 to form a spread.

Place the double casually; your right forefingertip is on its back and is the last finger to leave - it moves straight up. The two cards won't spread (particularly if the hidden card faces the same way as the visible card). This same handling applies to "b" of step #1. d) This next method (the card to be hidden is still second from bottom) uses the start of Bro. Hamman's Gemini Count. I described this in my "Gem" False Count - June, 1983 Apocalypse. This is similar to that false count. The start of the Gemini, briefly: The packet is in lefthand dealing position. As your right hand approaches, your left thumb pulls back, slightly and to the left, the packet's top card. (Look at Fig. 5.) At about the same time, your 2nd fingertip, which is at the outer right corner of the face of the bottom card, slightly buckles that bottom card by pressing downward, toward you. (See Fig. 6 . )

2. Let's move that face-up card upward a step at a time. It's now second from bottom. Here are three spread methods; a laydown works beautifully with two of them, a) The first method is the obvious one. Simply spread off one card, another, then bottom-card buckle and take a double card as #3. You're holding and displaying a 4-card spread or fan. b) The second way is to grasp the packet from above with your right hand. Then, slide out the bottom card with the side of your left forefinger. (Fig. 1.) As that card moves to the left, your left thumb peels the top card. (See Fig. 2.) Move your right hand to the right - it holds a 3-card block. Immediately peel off the top card of that block with your left thumb. (Fig. 3.) Place the remaining right-hand double card to the right end of the small spread - to display the 4-card spread. The peel-offs should be done in rhythm, of course. It's very convincing . c) For the "laydown," do the same thing, Your hands and the packet are about 3 inches above your working surface. Move rhythmically to Figure-3 position, Then, instead of placing the right-hand double onto the left-hand spread - place it onto the table as your left hand lays out its 3 cards moving leftward. (Fig. 4.)

You've cleared the outer-right corner area of the 3-card block that's between the top and bottom cards. Your right thumbtip and your 1st &/or 2nd fingertips "hit" at that exposed cor-

â&#x20AC;˘ 1420-

the bottom card. (Fig. 8.)

ner and move the 3-card block to the right. (As in Fig. 6A.) For this, as the right-hand block clears, left thumb pushes top card of two lefthand cards to the right, to start forming the spread in proper direction. (Fig. 7.) Again, no, particular pause; do maintain the rhythm. Left thumb peels the top righthand card onto the left-hand cards. Finally, right-hand double goes onto 1st 3 cards - to right end of small spread. That's the in-hand display, e) For the laydown, do exactly same thing, except right hand tables double as left hand spreads (or deals/ drops) its 3 cards leftward onto table to form a 4(?)-card left-to-right row just as in preceding (c in step # 2 ) . The right-hand grip on the double is different, of course. You'll be surprised at how convincing and effective these laydowns are. f) Same as Pellikaan's except start with packet in left-hand dealing position. Push off block with left thumb (all but bottom card); it looks a bit like Figure 14. As block moves to right, tilt down left thumbtip so that it can peel block's top card onto 1st card. Peel next (top card of block) same way. Remaining double card goes onto all. If you prefer, take bottom card "all the way" with and into left hand, and continue peeling and counting to four. A laydown works just fine. 3. Now, the card to be hidden is 3rd from bottom (center of 5 cards). Some of handling here is excellent (pardon my saying so). a) This 1st handling is a little different than my way of handling Peter's method. Hold packet at center of left long side. Do the block push-off of all but bottom card. Right fingers are there to grasp center of right long side. And, do a rightthumb block pushoff while first block is still on â&#x20AC;˘1421-

No perceptible pause - your left thumbtip peels off the top card (it's the top card of the just pushed-off three-card block) using the handling I described in Utility Spread (as depicted in Figure 2 of that item). (See Fig. 9.) For the spread display, jam the left side of the double (top right-hand card) under the left thumbtip (See Fig. 10) as your right hand moves slightly right with its remaining single card. That card goes onto the left-hand cards, forming the spread. (Fig. 11 shows that last card moving out to the right.) This looks just right and the laydown looks even better. b) Proceed up to Figure 9 then move hands apart on table so that you're holding (momentarily) 2 cards in each top right-hand card is double. Both top cards are "rested" on table as hands pull each lower card to left and right. (Fig. 12; just before completion. Double is 2nd from the right.) Laydowns that end with double card 2nd from right end of row are better than those that end with double at right end - much better, for me. c) For only an in-hand display, try this: Proceed to Figure-9 position. Move your hands apart - two cards in each. Move each thumb outward, taking along each top card! (Fig. 13.) You'll find it easy to keep the double (upper right-hand) card aligned. It's almost automatic. Slide the two(?) right-hand cards between the two left-hand cards and square. The hidden card is still at center. Or, interlace as you put the pairs together. You can interlace to bring the hidden card back to center, or to bring it to second from top. "Play" with it, and you'll see. This handling is extremely convincing. d) This next method is basically the same as the Gemini-Count method in "d" of step #2. Do the Gemini action as taught there, leaving two spread cards in your left hand. Then, instead of peeling off the top right-hand card do a block push-off with your right thumb. The double card goes onto the two left-hand cards, then place the remaining right-hand single card onto all to form the spread, e) The laydown is just about the same as the first laydown method in this step, and it's good. f) One of the methods I have on file beat me into print. Michael Gerhardt came up with it and it appeared in John Mendoza's Portfolio I. My handling differs only slightly. Do an Ascanio Spread. The double ends up in your right hand -

place it onto the spread Left-hand cards for the in-hand display. Obvious and standard, of course. For the laydown - your right hand tables the double as your left hand deals/drops its cards to form the row. (This is as in Figure 4.) g) This is one of my favorites. It's based on my no-get-ready double lift from four cards, out of QUANTUM LEAPS. Do a block push-off of all but the bottom card â&#x20AC;&#x201D; but from left-hand dealing position. (Fig. 14.) Note that the pad of your 2nd fingertip rests on the face, outer right corner, of the bottom card of the block. That's the key to the move. Continue to push off with your left thumb as your right hand approaches. Friction causes the bottom card of the block to stay where it is as the remaining 3-card block moves. (Fig. 15. Fig. 16 is a view from underneath. ) No real pause - as your left thumb peels the top card of the block. (Look at Fig. 17.) That's all; place the remaining righthand double onto the left-hand cards for the in-hand display. This really is good; it can be done in almost one continual (and quick) action. The laydown is obvious - your right hand tables the double as your left hand tables its 3 cards.

4. The face-up card is 2nd from top. Obviously, you can simply slide out the bottom 3 cards with your left fingers, or triple buckle, for the in-hand display. Or, see Ken Krenzel's Pressure Hideout in my book, The Card Classics Of Ken Krenzel. a) The method that fits this article, however, and which is really the best way, is to use "g," of step #3 with one slight change. Do "g" up to Figure 15. Then, instead of your left thumb peeling the top right-hand card (you would expose the face-up card), do a block push-off with your right thumb. The double remains on the two left-hand cards, and the last right-hand card goes onto the left-hand cards for the in-hand display. (And again, this can be done in almost one continual and quick action.) The face-up card ends up centered (3rd from top or bottom), b) The laydown is obvious. Do it basically as I have been teaching - the aligned double card slides off the lower righthand card as your hands separate; it ends up at 2nd-from-right end of the row - and again, this is good. Afterthoughts: Well, there you have it. I am quite pleased with some of these handlings. You'll have to find ways to use the handlings in effects or routines. And, most of the basic handlings can be used to display 4 cards as 3 either in-hand or laydown. I've run out of space but here's the general idea:

17 h) Serves same purpose as Gemini handling in "d," and basically same as 2 "f," only left thumb (packet in dealing position) does block push-off (Figure 1 4 ) . Left thumb peels top card of block (as in 2 " f " ) , then the right thumbtip does block push-off - left thumb takes double card. Can be used as spread display or laydown. And, can be displayed as in Figure 13.

The 4-card packet is held at center of its left long side with your left fingertips. Block pushoff with your left thumb â&#x20AC;&#x201D; block pushoff with your right thumb. (This is about the same as "a," in step #3 - look at Figure 8.) You can display a 3-card fan in hand, but I like this better as a laydown. You're working an inch or so above the tabletop. Your hands move left and right respectively with their single cards; the double card remains on the table. Immediately drop one single card onto the double, then the other single card. (You can drop these on the sides of the double, leaving it basically in view for the moment.) Try it; it looks good. Do it face up and, according to how you place the two single cards, you can hide a different card each time. All methods can be done with face-up as well as face-down cards. You can follow one method with another (if you feel like "proving"). Example: The card to hide is 2nd from top. Do "a," of step #4. This centers the hidden card. Then do a laydown; perhaps "b" of step #3.

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

DON'T MISS THE BLOCKBUSTER JANUARY, 1988 ANNIVERSARY ISSUE OF APOCALYPSE!

PUBLISHED,WRITTEN,EDITED:

Harry Lorayne

Shigeo Takagi - Which Jacks Are Better? And magic by David Regal, Doug Edwards, Russ Burns, Jack Carpenter,

ILLUSTRATIONS:

Robert E. Lorayne

Vincent Sabatino, Robert Bengel, Alfonso, Kevin Moran, Emile Clifton, Louis Falanga.

apocalypse Variations Or Additions Jerry Hartman liked Juan Tamariz' Impossible 3-Ace Change (Apocalypse; April, 1987) as did most Apocalytes. If you overlooked it, check it out - then listen to Jerry: "...I had the chance to play with some of the fine items in the April, 1987 Apocalypse, among them Juan Tamariz 1 Impossible 3-Ace Change. With virtually no change in handling, it can be converted to a 4-for-4 change - for example, four indifferent cards to four aces. "The starting position is just as you describe for aces to indifferent cards (but not indifferent cards to aces, strangely enough). I.e., out-shuffle (faro), bringing the aces to 1, 3, 5, 7th positions from top. (HL: I do a straddle faro, etc., as taught in the original.) "Begin by obtaining a break beneath the top two cards. Lift them as one with your right hand - thumb above, first and second fingers below - along the right side. Treating this double card as a single card, follow the procedure exactly as you describe, outjogging the double between the next two cards - and going from there. "When you display the four cards, they will appear as assorted indifferent cards. Turn the package face down, inner end flush with the inner end of the deck, as you originally explained. Contact the outer left corner of the outer (double) card with the right hand; thumb above, fingers below. Under the guise of an incidental adjustment action, push the upper card forward a bit, the lower card a bit inward just as if starting a Push-In Change. In fact, continue the actions of the change, as in the original description, by contacting this lower card with the left forefinger and pulling (or pushing) it and the entire complex of concealed cards squarely into (flush with) the deck. "When the faces of the four cards are shown again - they are the four aces."

THE CARTWHEEL CHANGE

Michael Rubinstein Don't pass this by! I'm well aware of the fact that it cannot read as good as it looks. "You can have this for Apocalypse if you like it, Harry," says Michael. And, as we sit at a table opposite each other, he shows me a half dollar which he then places on the back of his loosely-closed right hand. He tosses the coin upward perhaps three/four inches - just enough to turn and open his right hand to catch it. He catches it and immediately opens his hand flat and palm up - to display an English penny! The half dollar has changed to an English penny, or it sure seems so - because the half dollar is nowhere in sight. Any thought of a copper/silver gaff fades as he flips the coin over to its other side, then onto the table.

because the half dollar is placed on it; you do not want it to slide off. The closed hand will "cut" the table's edge at a slight diagonal angle, and it rests mainly on the little finger (side). (See Fig. 1.) The entire action takes a second or less. A suggestion: Try the non-sleight action first. Place hand and coin as in Figure 1 but without a palmed coin. Now just move the loosely-closed hand (the forearm goes along) upward "only enough" to toss the coin upward "only enough" to let you open the hand turning it partially palm up "only enough" to catch the coin, closing around it. The closed hand turns fingers up. And that's the action; do it five or even ten times to get the "feel" of it.

"Of course I want it for Apocalypse," say I, "...even though I don't know what the heck you're doing!" I call over some of the "boys" and ask Michael to do it for them. They don't know what the heck he's doing, either! He does it over and over — and it continues to fool. Ordinarily, he uses it as part of a copper/silver routine. It can be used that way, or as a self-contained quickie. That's up to you. Okay; it's a simple thing; a pretend catch and lap - no difficult sleights, but the timing will take some practice. At least it did for me. And, as I said - it cannot read as good as it looks. The copper coin is in right-hand Classic Palm. The hand is loosely closed (not open to appear empty as when usually Classic Palming a coin) and resting, fingers down, at the edge of the table. You'll see that you have to raise your elbow (and forearm) just a bit in order to have the back of your right fist remain at horizontal position. You want it to be horizontal •1423-

\ Now, here goes: Same position, but with the hidden, Classic-Palmed coin. Toss up the visible coin as explained. (Fig. 2 — stop action.) But, as the hand opens partially - the palm is tilted toward you, you don't want to flash the palmed coin — let the falling coin fall past it, in front of it, close to the table's edge - into your lap. (Fig. 3 - another attempt at a stop-action exposed view. The coin has passed the hand and is falling to the lap.)

Your hand closes around the "coin," turning fingers up, exactly as it would if you really caught the coin. (Fig. 4.) Immediately move the hand forward, opening it flat at the same time, to display the copper coin. (See Fig. 5.) Pause for half a beat, then turn the hand palm down flipping over the coin as it's tossed onto your left hand. Gently toss it onto the table with your left hand. Leave it there — you're clean.

That's it. I told you - it simply cannot read as good as I know it looks. The falling half dollar has to be close to the table's edge as it falls. You'll be a bit nervous at first, and toss it away from the edge closer to yourself - near your chest/stomach. No good; it may flash, and the illusion won't be as effective. It has to fall close to the table's edge without hitting the table — it's tossed up — not necessarily up and toward you. It can (and Michael does this most often and so do I) hit your hand as it falls. It hits glancingly near the wrist. You can't allow it to hit so that it bounces off at an angle and misses your lap! But letting it glancingly hit your hand assures that it is falling close to the table's edge. You'll just have to try it! Afterthoughts: This is one of those things you'd practice/learn if you saw it done. The illusion is perfect; you'd swear the coin is being caught in the hand. (Other small objects may be used.) Careful of the tendency to toss the half dollar up too high. Get the "feel" of the natural movement as I suggested - and toss it "only enough." Two to four inches, no more. You should "have it" after perhaps four or five tries.

DOUG EDWARDS

DOUBLE THOUGHT READING

The idea of setting ten (or any number) of cards in sequence in order to "feed" you some information later is not a new idea, of course. (See the Lazy Man's Card Trick — way back in CLOSE-UP CARD MAGIC.) I believe, however, that the way Doug uses it here is different and unique. It's also a fooler. Try it on a fellow magician - and watch for the surprised look. Basically, the effect is that a thought-of number and a thought-of card are "divined" by the performer. Don't overlook this; if you do, another Apocalyte will fool you with it. No illustrations are needed because there are no new "moves" involved.

member the number of cards he holds. Then, instruct him to thoroughly shuffle his small packet and to remember the card at bottom of that packet. During the "instructing," casually cut the deck and hold a left little fingertip break between the halves. Your break is directly above the centered set-up. You could, of course, do a jog shuffle, then "catch" your break beneath the injogged card. Your spectator is remembering the number of cards he holds (less than 10) and the name of the card that's now at bottom of those cards.

Secretly set a 10-to-ace sequence (that's descending, or reverse, order) on top of the deck. The suits of these ten cards are mixed they're immaterial. The 10-spot is the top card of the deck, followed by a 9-spot (second from top) - to the ace which, of course, is the 10th card from the top. You can set beforehand, or during a preceding effect, etc.

Grasp the deck from above with your right hand, your right thumbtip taking over the break. Dribble cards (from bottom of deck) down onto your palm-up left hand. Stop at the break. As you're dribbling cards, say, "Drop your cards into the deck, please." His "batch" goes onto your set-up. (No need to have him say "stop" as you dribble. That would lend importance to it. Don't make it important; just dribble to the break.) Casually drop the right-hand half onto his cards, catching your break (above his shuffled batch) again. Doug does a pretty squaring action which "proves" that no break is held. I may run it in a future issue of Apocalypse. It isn't crucial here.

To Perform: Shuffle and/or cut, keeping the ten vital cards intact on top. Hand to hand spread the face-down cards as you ask a spectator to "grab a small batch of cards - less than ten, please - to save time." Spread/push off a top block of cards first - this is held by your right thumb; you don't want your spectator to take any cards from your set-up. Let him take a batch from anywhere else.

Bring the deck, and both hands, under the table. As soon as the deck is out of sight, cut it at the break. You've brought your set-up, with his batch of cards on it, back to the top. (Obviously, you could do a pass, or double cut to the break, when the deck is above the table; but why bother!? Since you have to "go south" with the deck anyway, you might as well simply cut to the break when the deck is out of sight.)

Tell him to silently count the cards he took - under the table. Ask him if he has less than ten. If he says "yes," no problem. If he says "no," have him put some cards back to center deck (you don't want them on your set-up), and to count his remaining cards. He's to re•1424-

Make a remark about using your "sensitive fingers" here. It should be obvious that you will not look under the table - at the cards. This is important; "not looking" or using "sensitive fingers only" makes it all seem more impossible. "Concentrate on the number of cards you were holding — not your card — just the number of cards you were holding." As you talk and/or as you pause in order to let him concentrate, spread/count the top ten cards and move them to the bottom. The order of these cards is not reversed. Hold the (now) top card in your hand (that's the 11th card). I personally like to count and then cut the ten cards as I talk. Spread/push off in groups of 3 - 3,3,3 and 1. Not a big problem. Bring the single face-down (11th) card up into view. "How many cards were you holding?" Assume he says - "six." Flip over (face up onto the table) the single card. It will be a six! It's automatic. As it's flipped face up, your left hand (under the table) flips the entire deck face up. Your right hand goes under the table again, as you say, "Now concentrate on your card." Under the table: Spread/count (the deck is face up, remember) to the 11th card starting your count one number higher than the value of the card that's now face up on the table. In

Doug Edwards

this example, you'd spread/count "7,8,9,10,11." Another example: If he had originally taken only three cards, there'd be a face-up 3-spot on the table. Your spread/count from the top of the out-of-sight face-up deck would start with 4. Turn the 11th card face down and bring it up into view. Ask your spectator to name the card he's thinking of. As soon as he does, flip the face-down card face up onto the table - it will be his card! This, too, is automatic. Afterthoughts: The 10-to-ace set-up does it all tor you - if you follow the simple procedure. Another way to look at the spread/count from the top of the face-up deck, is: Subtract the value of the first face-up card (which represents the number of cards your spectator took from the deck) from 11 (always). Spread/count to that card - it's the thought-of card. In the text example, you'd subtract 6 from 11 and then spread/count to the fifth card from top of the face-up deck. It's the same thing. If he originally took three cards there'd be a face-up 3spot on the table. Subtract 3 from 11. You'd spread/count to the eighth card of the out-ofsight deck. It's quite simple, and quick, to set for a repeat because the 10-to-ace sequence is basically still intact. Now check out Son Of DTR, which follows, for a non-set-up method, same basic effect.

SON OF DTR

|oug did this for me as a card location. It's an old idea; what he's contributed is the way to get into it - the casual setting of two key cards. I added the idea of tabling a facedown card to prove that you knew a thought-of number. That made the effect look (to a layman) about the same as Double Thought Reading. This, however, requires no set-up. You'll fool magicians with it just as with Double Thought Reading. You might even want to use this as the repeat, or follow-up. As you're "toying" with a shuffled deck, hand to hand spread, faces toward you. Look for any mates pretty close to each other; that is, with two, three or anywhere up to - say - six cards between them. Let's assume you spot the two black sixes, and there are three cards between them. Cut this group to the top; one six is on top, the other is fifth from top. You could use any two cards - you'd have to remember them. It's just much easier with mates. Ask your spectator to think of any number from 1 to 10. Now, demonstrate what you'd like him to do. You can shuffle first, if you like, keeping the vital cards on top. (I always shuffle after getting the vital cards to top.) Mentally add 1 (always) to the number of cards between the black sixes ( 3 + 1 , this example, to get 4 ) . Deal cards one at a time onto the table forming a packet. Say, "Whatever number you're thinking of - please deal that number of cards, like this." Deal four cards (this example) to demonstrate. Casually drop the deck proper onto the tabled cards, as you say, "Tell me when you've done that, then I'll tell you what to do next." Hand the deck to him.

What you've accomplished with your short casual demonstration is to get one mate to the bottom; the other is on top. And that's the situation you need in order to present the effect. Turn your back as he (silently) counts down to his thought-of number. When he has, tell him to look at and remember the card on top of the tabled (counted) cards - that's the card at his number. He's to replace the card onto the tabled cards - then drop the deck proper onto all. Tell him to give the deck a complete cut. That's it. Turn around and take the deck. You can complete cut it some more (twice more) as you build up the fairness of it all. Hand to hand spread, faces toward you, until you reach the first black 6-spot. Start to count - mentally - on that six until you reach the card immediately in front of the second 6spot. That tells you his thought-of number. So, as an example, you start counting on the first black six and reach 8 on the card just in front of the second black six. Eight is the thoughtof number. And, the card on which you ended the count is the thought-of card! So, table any 8-spot (face down) and the selected card. Ask him to tell you what number he thought of. He says "eight" - you turn over the 8-spot. Have him name his card - turn over the remaining face-down card - to end. Afterthoughts: It's different - yet it's the same - as Double Thought Reading. Try it; you'll see how it fools. Just do the original setting up casually. And remember — if there are, say, six cards between the mates, "demonstrate" with seven cards, and so on.

GEORGE D. FRANZEN

THE DISSOLVING RUBBER BAND

|ome said they'd seen it around, others said they hadn't. My "historians" told me it had not been in print. Well, it should be - and now it is. It started, I guess, when I included The Uncanny Penetrating Rubber Bands in Tarbell #7. (I challenge you to find my name anywhere on the jacket, cover or spine of that book. I only wrote it - every word - edited it, crossindexed all the volumes, put it all together.) And, I've run other rubber band items (utilizing finger rings) by Rajneesh Madhok and Eric DeCamps (Apocalypse; May and July, 1987).

there's no pause in action.) Continue the movement of the left hand; your right hand moves slightly to meet it, its palm turning toward you. The left-hand loop moves over and down and onto the right-hand loop -- they are at right angle to each other. A small square forms at center where the loops cross. (Fig. 4.)

What this is, basically, is a way of making one rubber band look like two rubber bands. (I included a method in REPUTATION-MAKERS.) It should be done immediately after doing the (2) penetrating rubber bands. Start to put them into your pockets - one in each hand - leave the left-hand band in the pocket, but come out again with the right-hand band. Make it appear as if you're bringing both out, and say - "Oh wait; I want to show you one other thing with these rubber bands." The point is to make your spectator believe you're holding the two bands. Then, get into the following position quickly: The band is looped over your right thumbtip and forefingertip; those fingers point upward. Twist your left hand inward, toward you, until the palm faces almost leftward; the thumb is away from you and the forefinger is closer to you. Insert those two fingers upward into the band. Stretch the band to the left (by moving your left hand to the left) until the band is almost square shaped. (Fig. 1 is the starting position, band looped over your right fingers. Fig. 2 - stretching the band to almost square shape.)

The object is to maintain that square as your right hand moves its loop back and forth, up and down, against the left-hand" loop. And, it sure will look as if you're holding two rubber bands - just as you were when you did the Uncanny Penetration. There is a "feel" involved here. Move one hand only (I move the right), gently and clockwise (try counter-clockwise, it may work better for you). (Fig. 5 shows the square formation near the right thumb.) When you've "established" the two bands don't go on with it more than a few seconds you're ready to cause one of the bands to magically dissolve. This should be done slowly and gently. You don't want to snap it away because your spectators may think that's just what happened - it snapped away too quickly to be seen, as rubber bands can, and sometimes, do. Just bring thumbs and forefingers together and leave the band on your left fingers as your right fingertips rub together, as if dissolving their band. Then, open those fingers slowly to show that the rubber band is gone! Afterthoughts: Try it a few times and you will see how quickly you can get into position. If you prefer you can start with the band looped over your left thumbtip and forefingertip. Try both - see which is better for you. After dissolving one "band," you might go right into my broken and restored effect (Snap!) with the one band, as taught on my video tape.

Keep both thumbs and forefingers extended and twist your left hand down and away until it is palm down. This forms two loops and a center crossing - or "X." (Fig. 3 is a "freeze frame;"

continued next page... â&#x20AC;˘1426-

From Figure-4 position - move your right hand back toward you as you place the side of your right thumbtip against the side of your left thumbtip. Pivot your hands apart, thumbs maintaining contact. You'll be flashing what appears to be two bands. (Fig. 6; your view and spectators' view.) This is just a "flash," then move the right-hand band(?) back to beneath the left-hand "band" - you're back to Figure-4 position. Just try it once or twice; it's almost automatic. Go on from there, as taught.

When I discussed the idea with Ken Krenzel I mentioned that method of making the one band look, like two, as in REPUTATION-MAKERS. A week later, he showed me a better way - better for this, because it fits right in. Get to Figure-4 position - you've formed that small square at center. Let that be seen for only a moment, and then say, "Remember — these two rubber bands get pressed against each other..." As you say this, flash two rubber bands, indicatorily:

John M. Bauman

Painted Lips gain, get the selected card between gaffed cards any way you like.

• • don't know who originally came up with the "kiss" (lipstick imprint on a selected card) idea. John's inspiration was Tony Binarelli's routine. The basic plot is the standard one. A female spectator selects a card, remembers it, and replaces it. The card is located when she blows a kiss toward the deck. Her card "blushes" (turns red), and her "kiss" (lipstick imprint) is on its face. John's routine allows for a free selection, the signing of the card, and a couple of color changes. The main modus operandi is a gaffed card. It is simply a double card; the upper card has a rectangular cutout at center so that when that card is glued onto the full card, a recess is formed on the card's back. (Fig. 1; the dark outline shows the single-card-thick recess.) Draw the lips, the "kiss," in the recess (on the back of the lower card) with a moist lipstick - paint it on thickly. John usually uses Ultima II red lipstick. You'll also need one double-backed card - blue on one side, red on the other; matching your deck's back design, of course. Place the "printing press" gaff to the bottom of your blue-backed deck. The red/blue double backer is directly above (second from bottom) the gaff, red side up.

the two

After the replacement, a slight squeeze at center deck as you square and patter will result in a "kiss" being printed onto the face of the selection. From here, it's standard procedure. The spectator blows a kiss. Hand to hand spread to reveal one red-backed card (it's "blushing"). Cut that card to the top, and ask for the name of the selected card. Do a double turnover (end for end, and/or tilt up - you don't want to flash the gaffed card) to show that the red-backed( ?) card is the selected card and that it has the "kiss" on its face.

To perform: Any card is selected. Ask her to sign the face of the card. As she's doing this, you turn aside so as not to see the card. This affords more than enough time to cut the deck, holding a momentary break between the halves - and to allow the "printing press" card to riffle off your thumbtip to the top of the (now) lower half. Your break is now between the "printing press" card and the double-backed card. Obviously, you can get to this position any way you like. The signed card has to be replaced onto the "printing press" card. You cannot simply hold out the lower half for replacement, of course - the gaff would be seen. You can do either of the following: Cut at the break - the bottom half is in your left hand, top half in your right hand. The left-hand half is tilted back toward you, the right-hand half is in normal position. (Fig. 2; your view.)

Remove that top face-up card - a blue back shows beneath it; the blue side of the double backer - rub it on the lady's wrist, then turn it over to show that it has turned back to blue (it has lost its shyness and is no longer blushing!). That's the third climax, and also the end.

Have the selected card placed onto the left-hand half, keeping that left-hand half tilted until the right-hand half has covered the gaffed card's recess. Or - cut the deck, tilting the left-hand half as explained, and drop the right-hand half onto the table. You take the selected card with your right hand and place it onto the tilted-toward-you lefthand half. Then place the tabled half onto the left-hand half, etc. These are suggestions; a-

Afterthoughts: I've given you the basic idea. Supply your own handling, presentation, and so on. The two gaffed cards are on top of the deck, so they can be lapped or palmed out at a convenient moment. John suggests that a similar gaffed card can be used to "print" other designs for other effects - ESP designs, symbols, words, etc. •1427-

Ellipses (...) So you think a new idea in magic travels fast? It does - I remember how quickly my impromptu linking card routine "whipped around the world." Of course, having a "friend" steal it and then show/teach/sell it in foreign countries - helped. But even without that...in less than a week after I devised it, people said, "Oh, a magician in Japan is doing that!" Reason I mention it now is - I think jokes, funny lines, travel as fast, if not faster. I just heard a joke I made up years ago...it reminded me. When I appear as an after-dinner, or keynote, speaker (corporate level, usually) I always have a high bar stool available. This is to rest on occasionally as I speak/work. Well, once, some years ago, I walked out to the platform, looked at the stool, and said, pointing to it, "The last fancy restaurant I ate in - this was a table for two!" I hadn't planned it, it just "came out." It got a scream. I heard comics use the line eight times in the next two months! *** Excerpts from one of the letters re: my video tape..."Have just spent the best 55 minutes of magical viewing of any video on the market. Congratulations to you, Harry — it's fabulous and oh so useable. Every routine is so clearly explained and demonstrated. What an inspiration you are. Please, please, do a follow up..." No - I didn't write it myself!

I've always been told that many subscribers/readers of Apocalypse turn to the back page(s) of each issue to read my remarks, editorials, Out To Lunch, Ellipses( . . . ) , and so on. That's quite nice - in a way. In another way, it's difficult... because this has been going on for ten years now - I'm running out of things to say! What brought this up? I'll tell you. My Out To Lunch column in the April, 1987 issue - the one in which I wrote about when and why I gave up snorkeling, and in which I dropped the names of Mel Brooks and Anne Bancroft - brought lots of mail, calls, remarks. (Incidentally — when Annie was doing promotion for her movie, Night Mother, she did a long interview for the Los Angeles Times. In that interview, she talked about me - and made it obvious that we [she an I] were close friends. Many magicians sent me copies of that article, and many said in their accompanying notes that they had thought I was making it all up! Now, they believed me. Now ain't that nice?! It really isn't necessary for me to lie, and I wouldn't be stupid enough to do it in print.) Anyway, all the mail, calls, remarks were ego feeding... saying how terrific, funny, the column is, and would I do more of the same, etc. Except for one...the point being - there's no way to please everyone...his remark? "Where's the effect?!" (See the 2nd paragraph from here.) *** Gary Osborne is from England. His stage name is Gazzo Macee. He does terrific second deals, bottom deals, middle deals, peeks, and more. One of those peeks will appear in Apocalypse in the near future. And, he's doing a book on those deals. When I see a copy, I'll let you know about it. If he can teach you to do them as he does them...it has to be good. *** Whaddya' think of this issue of Apocalypse? A visiting magician saw the masters (for the printer) on my desk...read through quickly, and said..."I've just found at least three items each of which I'd gladly pay $10.00 or more for." That means the issue is worth close to $60 or $70! Can any other magazine make that statement? Truthfully? (I know they make the statement.) The subscription box in this issue quotes the new prices for Apocalypse. If you haven 't already done so, read the reminder near the top of page 1U20 — and, if you haven't already done so — send in your subscription renewal, or new subscription, NOW. Please understand that I'd have had to raise the price a bit even if I hadn't heard that postal rates are going up...everything else has gone up - paper, printing, deliveries, storage, everything. So don't get excited or angry at me if postal rates do not go up for a while. (We know it's inevitable.) There's no way to pinpoint it... impossible get a definite answer. Question: How can you stop working and still earn $30,000.00 a year? Answer:

Easy - get a job with the post office! ***

is published every month by Harry Lorayne, at: 62 Jane St., New York, N. Y. 1001k. y y b d bl d l All checks are to be made payable to Harry Lorayne, and mailed to him at that address. Individual issues - $U.25 each Overseas subscription - $U8.50 surface mail Subscription - $1/2.00 per year (U.S.A. dollars only) - $56.50 air mail All back issues - $i>.25 each, plus pstg. $60.50 airmail to Australia, Japan, So. Africa, etc. Canada & Mexico - $k7.50 surface mail. =14286

Lofayne's $4.00

VOL. 10 NO. 12

$4.25 starting next issue

DEC, 1987

ISSUE NO. 120

Shigeo Takagi

Which Jacks Are Better?

Ihigeo showed me this straightforward, direct, "visitor" type effect. There's one main move which he does beautifully, but I had some trouble getting by with it. Well, I mentioned that fact to the "boys;" I got three methods eliminating the move I had a bit of trouble with and they re all excellent. First, Shigeo's original method, then David Regal's, Doug Edward's 5 and Vincent Sabatino's. Openly remove the four jacks; table them face up, the reds together and the blacks together. Table ribbon spread the deck and have your spectator remove any card. Since this is an absolutely free choice, and you're going to see his card anyway, it doesn't matter whether your spread is face up or face down. Let's assume he selects the 3C.

i1429i

Openly place it face down between the two face-up red jacks. Shigeo gave me no patter for this - I've included the "cards like to stay among their own kind" theme. So, say something to that effect, and point out that you're sandwiching the face-down black card between faceup red jacks. (If a red card is selected, place it between the black jacks.) Pick up and square the face-down deck as you also pick up the two black jacks. "We don't need these" - and apparently lose them into the deck. What you really do is drop them on top then double cut one to the bottom. You want one black jack on top and one on bottom. (Pay no attention to the "losing" of the black jacks, of course.) The face-down deck is in left-hand dealing position as your right hand picks up the redjack "sandwich." Show the 3C between the two jacks. As you square the small fan with both hands, your left fingers push the lower jack to the right. It's a side-steal action. The outer right corner of that card "butts" between your right third and fourth fingers, at their base. The point is to secretly separate that lower face-up jack, as much as you can, from the other two cards. Your third fingertip can help to keep it steady. (Fig. 1 is an exposed view.) In appearance, the three cards are placed onto the face-down deck. This is that one move I mentioned. The lower jack really slides to the bottom. (Fig. 2.) Nothing can be seen from the front when Shigeo does it. "Don't make a move out of it" - obviously; just do it. Square and table the deck - there's a face-up red jack on top. Then slowly and deliberately complete cut the deck - I'll bury the red jacks with your card between them."

Pause. Then - "But I told you, cards don't like to be with cards that are not their own kind." Immediately ribbon spread the face-down tabled deck to expose the two face-up red jacks at center - no face-down card between them! Remove the red jacks, sliding them onto the table and gather the spread. Don't cut the deck at point of removal. "They like to stay with their own kind. Do a face-up ribbon spread. The 3C will be (face up) between the two (face-up) centered black jacks!

You realize, of course, that it's when the red jacks are removed that the selected card ends up between the black jacks.

*** 1

DAVID REGAL S METHOD: Start and continue exactly as explained - until the top black jack has been cut to the bottom. Now, show the selection between the two red jacks, then insert the entire 3-card sandwich (jacks face up) to center deck. Square. And, as you say, "Remember; your card is between the two red jacks at center," hand to hand spread to the sandwich to show it again. Break the spread so that the lower face-up red jack is on top of the lefthand (lower) portion. Raise the right-hand portion to flash the selected card at its face. Now, that right-hand portion has to be regrasped in Ovette Master Move readiness. So, either do it without putting it back onto the left-hand portion - or do put it back, hold a break, and re-grasp. I have to leave it to you. The point is that you have to "Ovette" the bottom card of the right-hand half, the selection, to the bottom of the left-hand half as you finally replace the right-hand half. This gives me the opportunity to mention the idea of doing the Ovette Master Move from the side instead of the end of the deck. Try it here with the half deck! Openly cut a small packet (12 or so cards) from top to bottom. Don't forget that; it won't work if you do. Say your patter line, and hand to hand spread to expose the two face-up red jacks - no face-down card between them. What follows is done as explained to make it seem as if the black jacks are centered; it's clever.

Table the right-hand spread, red jacks exposed at left end, as is - as you deliver your last patter line and table ribbon spread the left-hand portion face up. The black jacks are near center, selected card between them. (See Fig. 3.) A bit of experimenting as to approximately where in the deck to bury the red-jack sandwich originally, and how large a packet to cut from top to bottom after "Ovetting" the selected card to bottom, will enable you to make sure the black jacks are centered in their partial-deck spread at the end - if that's important to you.

fect â&#x20AC;˘1430"

DOUG EDWARDS' METHOD: Exactly the same ef- entirely different method for getting

there. The two black jacks are placed on top for this, and the deck is shuffled keeping them there. I.e., one jack is not cut to the bottom. As your right hand picks up the red-jack sandwich, get a left little fingertip break beneath the top card (black jack) of the deck proper. Show the face-down selected card between the face-up red jacks - then, square the three cards, hold them from above in a block, and peel the top face-up red jack onto the deck with your left thumb. You now have your break under two cards. As you peel the next righthand card - the face-down selection, saying, "your card" - steal the two "broken" cards to beneath the right-hand cards. The card you're peeling onto the deck "shades" the fact that there's no longer a face-up red jack under it. This is a standard maneuver.

You can flash the selected card again by turning your left hand palm down, deck face up, and then partially pushing off the selected card with your left thumb. (Fig. 4.) You have to be careful not to flash the second-from-top card because, again, the face-up red jack that should be there is no longer there. Flush the selected card before turning your left hand back to normal position. Place the remaining right-hand face-up red jack (really a 3-card block) onto the deck. "And the second red jack." (It's all completely logical looking.) Openly and deliberately complete cut the deck, bringing the face-up red jacks to center, and your work is done; the selected card is already between the black jacks. Using the same patter (or whatever patter you like), spread to expose the two face-up red jacks, remove them, square the cards, and re-spread, etc. ***

VINCENT SABATINO'S METHOD: This is so good because of its simplicity. The face-down card is sandwiched between the face-up red jacks. The black jacks are placed on top and one is double cut to the bottom. Show the selected card between the red jacks again, and that's when the "work" is done. You can do it as you continue to hold the face-down deck in your left hand, or you can table the deck in front of you.

Pick up the red-jack sandwich and peel the top face-up jack into your left hand with your left thumb - "a red jack." Place it to beneath the right-hand cards. Peel the (now) top facedown selected card (Fig. 5) - "Your card" - and place it to beneath the right-hand cards. "And, the other red jack," indicating the face-up red jack that's now on top of the right-hand cards. That card is not peeled; just stop after peeling and squaring to the bottom the face-down selected card. Pause for a beat or two. It's interesting; the face-down selection is now beneath the two face-up red jacks - and no one notices this! Your spectators simply assume that it's still between the jacks. Don't allow too much time for thinking, anyway. Drop the squared cards (calling it the "sandwich") onto the deck. Complete cut, etc., ending as already described. Afterthoughts: The methods are all different, anH all good. Without Shigeo's original the others wouldn't exist, of course. It's good magic. And yes, I know that it'd look a little bit better if the selected card could appear reversed between the black (in the text example) jacks. But, it's not worth the trouble; it's just fine as is.

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Harry Lorayne

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Robert E. Lorayne

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Robert Bengel

A COIN "PANTS'-POSITION

I'm sure you're aware of the coin vanish from a fold of trouser cloth. (See John Hope's A Trouser Pocket Topit, in the June, 1987 issue of Apocalypse.) You'll find the basic move in Bobo's Coin Magic. Bob uses the concept, not as a vanish, but as a magical coin change and, in the process, secretly switches a coin! If it's all done correctly - particularly no hesitation during the actual steal - it appears as if your hands have nothing to do with what's going on; it seems as if the trouser Leg is the source of the magic. (The trouser leg should be loose in order to do this easily.)

ed another change (within your routine) using very little hand action. Repeat, changing the silver back to copper and switching coins at the same time. Here's how: Your spectators' attention is on the silver coin - because they've just seen it change from a copper coin. Your right hand is not being "burned" at this moment. All right, then. You'll do, apparently, exactly as before; cover the coin with a fold of cloth. This time, however, your left hand steals the c/s gaff as the right hand "loads" the regular copper coin. As your hands approach the visible coin, let the right-hand coin fall from Classic Palm to fingertip rest. You can use your right thumbtip to hold it in place as the hand moves. Time this properly, of course: Your left thumbtip goes onto the visible coin, left fingers under it at its outer edge - as before. Start to turn it toward you, along with the fold of cloth, also as before. At the same time, your right hand pushes the hidden coin into the fold. (See Fig. 3 - a stop-action exposed view.)

The idea can come in handy when you want to switch out a copper/silver gaffed coin replacing it with a real, say, copper coin - at the end of a routine. Let's assume, then, that you're displaying the c/s coin, copper side up. The real copper coin (English penny) is Classic Palmed in your right hand. If you're standing, raise your right leg only enough so that you can easily reach your mid-thigh area. (You'd be standing on only your left foot. You can keep your right foot on the ground - just bend to do the effect.) If you're sitting, make sure that everyone can see the top of your right thigh.

There's no pause. Fold the cloth completely over the left-hand coin - apparently, that is. Actually, your left hand steals the gaff, as taught in the Bobo book. As the cloth covers the gaffed coin, your left thumb slides it toward your left little finger. The right-hand coin goes under the fold of cloth. (Fig. 4.) Your hands separate as soon as possible, as the cloth folds over. As the gaffed coin clears the cloth it is pressed into left-hand Classic Palm. This enables you to spread the fingers of both hands. The regular copper coin is now under the fold.

Let your left hand be seen to be empty as you place the gaffed coin, copper side up, onto your right thigh. Fold the cloth of the trouser leg over the coin, secretly flipping the coin over to bring its silver (half dollar) side upward at the same time. Do it like this: Rest both thumbs on the coin as your fingers go under it at its outer edge, catching some cloth. Move your fingers up and toward you which also moves the coin's outer edge up then toward you. The coin is being turned over - the cloth moves along "shading" all. (Fig. 1 shows the turning starting.) Incidentally, folding the coin and cloth away from you, instead of toward you, would also work. And as a matter of fact, I believe that's how Bob does it. I am teaching it as I prefer to do it.

Your hands should separate as much as possible as the turning is in progress - to establish the "fairness" of it. When complete, the fold of cloth covers all of the coin. Remove your hands, fingers spread, for a second, to show that they're "empty." Then, put one hand behind and one in front of the fold. Use the fingertips of each hand to pull open the fold as if straightening the cloth. This exposes the coin (Fig. 2) â&#x20AC;&#x201D; as it comes into view, it is seen to have changed to silver. You've perform-

Slowly pull (or stretch) the cloth (as in Figure 2) to reveal the coin - it has magically changed back to copper. Turn it over to flash 1

1432â&#x20AC;˘

are integral to, your routine.

the other side. You can let a spectator take it which will give you both the time and the opportunity to "dump" the left-hand hidden gaffed coin. Dump it into a pocket. Casually allow the right hand to be seen empty, etc. You've accomplished your purpose - you have switched in a regular coin and stolen out the gaffed coin during a magical effect. Your routine ends here or it continues with the regular coin.

This is good to know. It may come in handy within a few of the copper/silver effects you perform. Bob says, "There are several points that make this work. The first is that the left hand is shown empty before the final switch is made. Once that switch is made, the right hand is empty and is also shown so. From the spectators' perspective, both hands are seen empty during the action." As I said at the top - the hands seem to be only a "by-product" of the effect and not an integral part of it. It is assumed that the trouser leg alone is the source of the magic.

Afterthoughts: If you're switching in the gaffed coin (tor a regular coin), obviously you don't let a spectator pick it up. And, work it out - think the logic through - so that proper coin surfaces show, the surfaces that work in,

Alfonso

A NEW TWIST that it will work smoother if you push the left little finger farther into the break (up to the joint nearer the palm) as the packet is turned face down.

|hat I like about this is that you can take any four of a kind out of any deck and go right into it. No preparation; it's impromptu. There's a lovely subtle touch near the end. You do, however, have to be able to do - well - Ken Krenzel's Mechanical Reverse, Elmsley and Jordan Counts, and the Christ Twist. I will teach the Mechanical Reverse and the Christ Twist and touch on the Jordan Count. Alfonso put the routine together with Bill Goodwin's help.

Now do your magical gesture (Alfonso does a "wave," he waves his right hand over the packet ; I use a movement approximating the Christ Twist - to help "cover" the Christ Twist when I really have to do i t ) . Elmsley Count to show that one 3-spot has turned face up. Repeat the magical gesture. Legitimately reverse count the four cards; make it look the same as when you Elmsley Counted. Two face-up 3-spots will show. Magical gesture - and do a Jordan Count. (Peel the first [top] card with your left thumb. Peel the second card onto the first. As you approach to peel the third card, the first two go flush under the right-hand cards, and the right thumb does a 3-card block push-off. Your left hand takes a 3-card block as the third card. Take the last [right-hand] card onto the left-hand cards.) Again, make the count look as it did the first two times. Three face-up threes show during the count.

You can ask your spectator to name the four of a kind, if you like. All right; let's assume you're working with the four threes. Table the deck (it isn't used), and make sure the in-hand face-up threes are in alternating-color order. (Assume they're in CHSD order from rear moving up to face, just for teaching purposes.) Spread to display them - square, getting your left little finger above the two lower (or beneath the two upper) cards. This is in preparation for the Mechanical Reverse (from THE CARD CLASSICS OF KEN KRENZEL). Your right hand turns the 4-card packet face down, side for side, to the right, like turning the page of a book; the left little finger maintains its center break. (Fig. 1 is an exposed view of that instant.) Of course, there's no perceptible pause in action. Your right hand holds the two cards above the break as your left fingers close, turning the two lower cards face up. (Fig. 2 is a stop-action, exposed view of the move in progress.) It is imperceptible when properly done. You'll see

At this moment, the and a black) are face up face down. Now, the bottom ed face up, secretly. Do â&#x20AC;˘1433â&#x20AC;˘

top two cards (a red - the bottom two are card has to be turnit any way you like.

The Christ Twist fits perfectly. I do it as I say - "It's this gesture that makes the magic happen." It Looks like the gesture I've been doing all along - I reverse that bottom card. The Christ Twist: Buckle the bottom card; it moves down and away from the top three cards. Open your left fingers downward, taking along the separated card as your right hand holds the top three cards. (Fig. 3 shows this starting.) Continue the movement of your left hand & fingers until the separated card almost automatically moves toward face-up position. The cards in your right hand start to move down onto that (now) face-up card. (See Fig. 4.) Complete the "gesture" by turning the 4-card packet one turn clockwise. (Fig. 5, just at the completion of the turn.) I'd suggest you check my detailed description of this utilitarian move in BEST OF FRIENDS, VOLUME I, pages 509 and 510.

on the two left-hand cards, alongside your left thumb. (Fig. 7.) Square the cards - your left little finger is already in position to do the Mechanical Reverse (it looks as in Figure 1 except that the top card is face up. ) Do the Mechanical Reverse, secretly turning over the two lower cards. Do your magical gesture, then do an Elmsley Count, as you say, "Watch - that three of clubs turns face up right under the three of spades." And that's exactly what it looks like! You'll have to try it with cards in hand. It's the piece of business that "makes" this for me. (See Afterthoughts.)

Now for that subtlety I mentioned. Spread the four cards between your hands, as you say, "One of the threes is still face down." It will be the third card from top. Hold the top two face-up threes in your right hand as your left hand turns palm down (inward) to show the face of the face-down 3-spot. It will be the 3C, if you've set as I suggested. As your left hand turns over the two cards, move your left little finger to beneath them. This, again, is to get ready to do the Mechanical Reverse. Mention the card (3C, this example), and point out that it is directly under the 3S. (See Fig. 6.) If the face-down card is black it will always be under a black card; if it's red, it'll be under a red card.

Afterthoughts: Or - you can drop the faceup packet onto the face-down deck, pick up the deck and flip the three face-up threes facedown in a block - to clean up. I prefer to do the Christ Twist. The Christ Twist would work at the end instead of the Mechanical Reverse, to reverse the 2 bottom cards, but Alfonso (and I) use the Mechanical Reverse at that particular point. And, immediately after it, I like to spread off the two top face-down cards, in order to flash the (3rd-from-top) face-down card, and repeat - "Remember; the three of clubs is here - face down - under the three of spades." This strengthens that bit of business, the excellent subtlety. (When you point to it at that moment, it's not really there any more.) I do not do the "Christ Twist" gesture there. I want to go into the "magic" immediately. So I say, "Even if I only snap my fingers..." and do the last Elmsley Count. It's an excellent routine.

Turn your left hand back to palm-up position. Stress the fact that the face-down 3C is right under the 3S. Your left little finger is

'Burns

The short routine is over. The lowermost card is face down; to clean up, secretly turn it face up. I do the Christ Twist, as I say "And it's this 'gesture' that did it all!" As I say "this gesture," I do it. Spread to display the four face-up threes - to end.

Banned In fBoston

|he reason for the title is that this is really a Boston Box (coin in bottom recession) effect done with a regular Okito Box. Russ uses some interesting moves, and the "shooting" of a card across the close-up pad is pretty. It also fits within the routine. Aside from the closeup pad, you'll need an Okito Box, four half dollars, and two poker-size playing cards. Russ likes to use the 9S and 10S. I'll give you the general idea of the actions, moves, and routine; it's the kind of thing you'll probably want to put together yourself.

right end of the uppermost - overlapping-tothe-rlght - card, "shooting" it to the left across the pad. (See Fig. 1.) Do this correctly, and the card really slides some distance, and sharply, to the left. Replace the card and repeat the sliding a couple of times. Finally, leave the one card at the left.

To perform, openly bend the two cards longitudinally, faces outward, so that they can be placed on the table like two miniature Quonset huts. The bend is deep enough so that when a card is placed over the Okito Box, the long sides will just graze the tabletop.

L~T)

Display one coin and openly drop it into the tabled box. Place the lid aside to your left; it isn't used at the moment. Place one prepared card horizontally over the box, so that the box cannot be seen. Place the second card onto the first one, overlapping an inch to an inch and a half to the right. All this is done at the right side of the pad. With

your

right

second

finger,

tap

"Wouldn't it be miraculous if I could make that coin magically leave the box and follow the card across the table?" As you talk, as an indicatory action (this is important; the following actions only make sense if they're done "indicatorally") your right hand lifts the one

the â&#x20AC;˘1434'

^ndex for \folume*\Q The Effects: BILLS Pinatrated Bill (Richard Bartram, Jr. ) BOSTON BOX Banned In Boston (Russ Burns) BOTTLE (Miniature) Magic By The Number (Gilles Couture) CARDS A-Foldable (Jim Patton) All Wrong! (Ron Frost) Answer To Erdnase (Mitchell Silverman) Answer To Nobody (Mitchell Silverman) Aw Gee! (Richard Vollmer) Blown Away (Juan Tamariz) Card To Top (Gilles Couture) Center-To-Bottom Reverse (Woody Landers) Central Limit (Steve Rogers) Challenge Spectator Peek (Steve Draun) "Clean" Trick, A (Mark Sicher) Divining Card, The (David Regal) Double Thought Reading ( Doug Edwards ) Enlarger (Mike Bornstein) Faces Minus One (J. C. Doty) Flaunt It (Gerald Deutsch) Flourish Control (Doug Edwards) Four At Once (Jack Carpenter) Four-Instants (Mike Bornstein) Fuddle Aces (Jon Racherbaumer) "General"ly Speaking (John W. McClure) Gold Diggers Of 198? (Ian Baxter) High-Rise Assembly (Edward Mario) "I Can't Do This Trick!" (Doug Edwards/Harry Lorayne) Im-Atchin-Ation (Rick Silberman) Impossible 3-Ace Change (Juan Tamariz) In Any Case (Steven Cohen) Instant Visible Change (Doug Edwards) Leaning Tower Of Pasteboards, The (Hippie Torrales) Multifaked Card, The (Ian Baxter) New Twist, A (Alfonso) No Quarter (Randy Tanner) Not By Sight (Tetsuyoshi Hoshino) One By One (Justin Higham) One-Card Triumph Revelation (Gary Ouellet) Out Of Bounds (J. K. Hartman) Overclock (Randy Wakeman) Painted Lips (John M. Bauman) Pip Off (Louis Falanga) Pocketed! (Hippie Torrales) Relativity's Relative (Eric DeCamps) Slide-Out (Emile Clifton) Slowed Up (Ken Krenzel) Son Of DTR (Doug Edwards) Spectator On Stage (Randy Wakeman) Spread/Wave Change/Production (Steven Schneiderman) Square-Up Color Change (Jim Patton) Sting, The (Walt Maddison) Stretch Of The Imagination (Mark Sicher) Swivel Color Change (Jim Patton) Three-Second Wonder (Gary Ouellet)

1987

No.A, page 1333

No. 12, page 1434 No.4, page 1337

No. 2, page 1314 No.2, page 1313 No. 9, page 1397 No.9, page 1398 No.8, page 1386 No.7, page 1369 No.2, page 1318 No.3, page 1331 No.8, page 1383 No.6, page 1361 No.2, page 1318 No. 1, page 1301 No . 11, page 1424 No.10, page 1408 No.5, page 1363 No.9, page 1397 No.2, page 1316 No.12, page 1436 No.3, page 1325 No.2, page 1311 No.2, page 1315 No. 7, page 1373 No.l, page 1302 No.8, page 1381 No . 7 , page 1375 No.4, page 1342 No.6, page 1366 No. 7, page 1378 No.2, page 1309 No.3, page 1321 No.12 , page 1433 No.3, page 1323 No. 3 page 1329 No. 9 ', page 1402 N o . l , page 1307 N o . 5 ^ page 1352 N o . i o ' page 1410 N o . l l ' page 1427 No.12* page 1439 N o . 1 0 , page 1413 No 4 paee 1338 No.12* page 1438 No.l! page 1297 No.ll pale 1425 No . 6 , page 1357 N o . 5 ^ page 1354 No 8' Daee 1390 ! N O ! 9 ' page 1393 ! ! ! ! N O ! 9 ' page 1400 No 8' page 1389 "NOV page 1335

Trappings Of A Miracle (J. K. Hartman) Triumphant False Shuffle (Randy Tanner) Twenty Points Less (Marvin Steiner) Ultimate Move, The (Harry Lorayne) Ultra Surprise (Doug Edwards) Updated Force, An (Edward Mario) Utility Spread (Peter Pellikaan) Utility Spread Plus (Harry Lorayne) Which Jacks Are Better? (Shigeo Takagi) "Will The Cards Match" (Larry Becker) Wiped Out (Every Chapman) COINS Banned In Boston (Russ Burns) Blue Plate Special (Rick Sherman) Cartwheel Change, The (Michael Rubinstein) Catapult Coin (Henry Mayol) Coin "Pants"-Position, A (Robert Bengel) Extra Coins Across (Jonathan Townsend) Hot Potato Transpo (Sol Stone) Knihc-A-Knihc (Paul W. Cummins) Kring Pass (Jason Krumholtz) Macoins (Gilles Couture) Now You See It (Rich Cowley) One By One (Justin Higham) Penetrating Transposition (Sol Stone) Purse-Uing The Mint (Robert Bengel) Reverse Double Click Pass (Michael Rubinstein) Revolving Han Ping Chien (Jonathan Townsend) Somersault "Dump" Choice (Jeff Moche) Split Secoined (Sol Stone) Three-Beat Click Pass (Michael Rubinstein) Three To Go (Bruce Berkowitz) Trouser Pocket Topit (John V. Hope) Winged Silver-Once More (Kevin Moran) CUPS & BALLS Two C & B Goodies (Dan Fleshman) DICE Dice Twice (Salverio Piacente) High-Rise Assembly (Edward Mario)

page page page page page page page page page page page

1305 1367 1415 1345 1319 1360 1419 1420 1429 1349 1341

No. 12, No. 3, No. 11, No.3, No.12, No. 3, No.10, No. 10, No.8, No. 11, No. 9, No. 9, No.4, No.l, No.6, No.l, No. 7, No. 7, No.6, No.5, No.6, No. 12,

page page page page page page page page page page page page page page page page page page page page page page

1434 1328 1423 1330 1432 1324 1411 1405 1391 1417 1399 1402 1340 1299 1362 1306 1377 1374 1365 1353 1359 1437

No. 9 , page 1396

No.10, page 1409 No.l, page 1302

MATCHBOX Im-Atchin-Ation (Rick Silberman)

No. 7, page 1375

OKITO BOX Somersault "Dump" Choice (Jeff Moche)

No. 7, page 1377

PIN (Safety) Pinatrated Bill (Richard Bartram, Jr. )

No.4, page 1333

PLATE Blue Plate Special (Rick Sherman)

No. 3, page 1328

RING (finger) Boomering (Gary Ouellet) Kring Pass (Jason Krumholtz) "Snap" Finger Ring/Link (Eric DeCamps) Through The Rope (Mark Sicher) Uncanny Penetrating Finger Ring, The (Dr. Rajneesh Madhok)

No.8, No.8, No. 7, No. 5, No.5,

ROPE Boomering (Gary Ouellet) Through The Rope (Mark Sicher)

No.8, page 1387 No. 5, page 1348

RUBBER BAND Dissolving Rubber Band, The (George D. Franzen) Out Of Bounds (J. K. Hartman)

No.l, No.6, No.10, No.5, No. 2, No.6, No.11, No.11, No.12, No.5, No.4,

page page page page page

1387 1391 1371 1348 1350

No.11, page 1426 No. 5, page 1352

"Snap" Finger Ring/Link (Eric DeCamps) Stretch Of The Imagination (Mark Sicher) Uncanny Penetrating Finger Ring, The (Dr. Rajneesh Madhok)

No. 7, page 1371 No.9, page 1400 No. 5, page 1350

SILK Catapult Coin (Henry Mayol)

No.3, page 1330

SOAP "Clean" Trick, A (Mark Sicher)

No.2, page 1318

SPONGE BALL Sponge Ball Sleight (Gary Ouellet)

No. 9,

page 1402

THUMBTIP Leaning Tower Of Pasteboards, The (Hippie Torrales) APOCALYPSE VARIATIONS OR ADDITIONS

No.2, page 1309 Nos .4 , 7 ,8 ,11;

OUT TO LUNCH (Harry Lorayne)

Alfonso

Pg.1433

Bartram, Jr., Richard... 1333 Bauman, John M Pg.1427 Baxter, Ian Pg.1321,1373 Becker, Larry Pg.1349 Bengel, Robert 1299,1432 Berkowitz, Bruce Pg.1353 Bornstein, Mike .... 1325,1408 Burns , Russ Pg. 1434 Carpenter, Jack Pg.1436 Chapman, Evert Pg.1341 Clifton, Emile Pg.1438 Cohen, Steven Pg.1366 Cohn, Salomon Pg.1385 Couture, Gilles... 1318 ,1337, 1417 Cowley, Rich Pg.1399 Cummins, Paul W Pg.1405 DeCamps, Eric Derman, Bill Deutsch, Gerald Doty, J. C Draun, Steve Edwards, Doug.

Falanga, Louis Fleshman, Dan

1338,1371 Pg.1340 Pg.1397 Pg.1363 Pg.1361

pgs. 1340,1377,1390,1423 Nos.4,9; pages 1344,1404

Franzen, George D. ..Pg.1426 Frost, Ron Pg.1313 Hartman, J. K. ...1305,1352, 1423 Higham, Justin Pg.1402 Hope, John V Pg.1359 Hoshino, Tetsuyoshi..Pg.1329 Krenzel, Ken Krumholtz, Jason LaConte, Jim Landers, Woody Lorayne, Harry Maddison, Walt Madhok, Rajneesh Mario, Edward Mayol, Henry McClure, John W Moche, Jeff Moran, Kevin Ouellet, Gary

1297,1328 Pg.1391 Pg.1377 Pg.1331 1345,1381, 1420 Pg.1393 Pg.1350 1302,1360 Pg.1330 Pg.1315 Pg.1377 Pg.1437 1307,1335, 1387,1402

.1316,1319, 1378,1381, 1424,1425, 1430

1314,1389, 1390 Pellikaan, Peter Pg.1419 Piacente, Salverio...Pg.1409

Pg.1439 Pg.1396

Racherbaumer, Jon....Pg.1311 Regal, David 1301,1390, 1430

Patton, Jim

The Contributors: R o g e r s , Steve Pg.1383 R u b i n s t e i n , M i c h a e l . . . . 1362, 1365,1423 Sabatino, Vincent....Pg.1431 Schneiderman, S t e v e n . . . . 1354 Sherman, Rick Pg.1328 S i c h e r , Mark 1318,1348, 1400 Silberman, Rick Pg.1375 Silverman, Mitchell.... 1397, 1398 Steiner, Marvin Pg.1415 Stone, Sol....1340,1374,1411 Takagi , Shigeo Pg.1429 Tamariz, Juan 1342,1369 Tanner, Randy 1323,1367 Torrales, Hippie ... 1309,1413 Townsend, Jonathan 1306, 1324 Vollmer, Richard Wakeman, Randy

Pg.1386 1357,1410

ARTWORK.,.,ROBERT E. LORAYNE

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D D D D D D D

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D D D

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D D D O D D D D D Q

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The Sleights Described WITHIN Routines:

Back Clip (coins) Card Lapping Christ Twist (cards) I l l o g i c a l Double Lift (Lorayne) Jordan Count (cards) Lorayne Force, The (cards) Mechanical Reverse (Krenzel) Mirror Count (John McClure) 01 ram Subtlety (Mario) Paint Brush Change (cards) Rub-Away Vanish (cards) Sandwich Toss (cards) Secret Card Folding Turnover (Paddle) Move

Pg.1324 Pg.1364 Pg.1433 Pg.1341 Pg.1433 Pg.1353 Pg.1433 Pg.1315 Pgs. 1327 ,1393 Pg.1327 Pg.1366 Pg.1341 Pg.1376 Pg.1364

The Issues: No.l; January, 1987 (pages 1297 to 1308): Ken Krenzel Slowed Up Robert Bengel Purse-uing The Mint David Regal The Divining Card Edward Mario High-Rise Assembly J. K. Hartman Trappings Of A Miracle Jonathan Townsend Revolving Han Ping Chien Gary Ouellet One-Card Triumph Revelation Ellipses(. No.2; February, 1987 (pages 1309 to 1320): Special All-Card Issue Hippie Torrales Leaning Tower Of Pasteboards Jon Racherbaumer Fuddle Aces Ron Frost All Wrong! Jim Patton A-Foldable John W. McClure "General"ly Speaking Doug Edwards Flourish Control Mark Sicher A "Clean" Trick Gilles Couture Card To Top Doug Edwards Ultra Surprise Ellipsest...) No.3; March, 1987 (pages 1321 to 1332): Ian Baxter The Multifaked Card Randy Tanner No Quarter Jonathan Townsend Extra Coins Across Mike Bornstein Four-Instants Rick Sherman Blue Plate Special Tetsuyoshi Hoshino Not By Sight Woody Landers Center-To-Bottom Reverse Henry Mayol Catapult Coin Ellipsest...) No.4; April, 1987 (pages 1333 to 1344): Richard Bartram, Jr. Pinatrated Bill Gary Ouellet Three-Second Wonder Gilles Couture Magic By The Number Eric DeCamps Relativity's Relative Sol Stone Penetrating Transposition Apocalypse Variations Or Additions Juan Tamariz Impossible 3-Ace Change Evert Chapman Wiped Out Out To Lunch No.5; May, 1987 (pages 1345 to 1356): Harry Lorayne The Ultimate Move Mark Sicher Through The Rope Larry Becker "Will The Cards Match" Dr. Rajneesh Madhok Penetrating Finger Ring J. K. Hartman Out Of Bounds Bruce Berkowitz Three To Go Steven Schneiderman Spread/Wave Ellipses(...) Change/Production No.6; June, 1987 (pages 1357 to 1368): Randy Wakeman Spectator On Stage John V. Hope Trouser Pocket Topit Edward Mario An Updated Force Steve Draun Challenge Spectator Peek Michael Rubinstein Three-Beat Click Pass Steven Cohen In Any Case Randy Tanner Triumphant False Shuffle Ellipses(...)

No.7; July, 1987 (pages 1369 to 1380): Juan Tamariz Blown Away Eric DeCamps "Snap" Finger Ring/Link Ian Baxter Gold Diggers of 198? Sol Stone Split Secoined Rick Silberman Im-Atchin-Ation Apocalypse Variations Or Additions Jeff Moche Somersault "Dump" Choice Doug Edwards Instant Visible Change Ellipsest... ) No.8; August, 1987 (pages 1381 to 1392): Edwards/Lorayne "I Can't Do This Trick!" Steve Rogers Central Limit Salomon Cohn Watch The Coin! Richard Vollmer Aw Gee! Gary Ouellet Boomering Jim Patton Swivel Color Change Apocalypse Variations Or Additions i i O Addii Jim Patton Square-Up Color Change Jason Krumholtz Kring Pass Ellipses (...) No.9; September, 1987 (pages 1393 to 1404): Walt Maddison The Sting Dan Fleshman Two C & B Goodies Gerald Deutsch Flaunt It Mitchell Silverman Answer To Erdnase Mitchell Silverman Answer To Nobody Rich Cowley Now You See It Mark Sicher Stretch Of The Imagination Gary Ouellet Sponge Ball Sleight Justin Higham One By One Out To Lunch No.10; October, 1987 (pages 1405 to 1416): Knihc-A-Knihc luaP .W snimmuC Mike Bornstein Enlarger Salverio Piacente Dice Twice Randy Wakeman Overclock Sol Stone Hot Potato Transpo Hippie Torrales Pocketed! Marvin Steiner Twenty Points Less Ellipses (...) No.11; November, 1987 (pages 1417 to 1428): Gille Couture Macoins Peter Pellikaan Utility Spread Harry Lorayne Utility Spread Plus Apocalypse Variations Or Additions Michael Rubinstein The Cartwheel Change Doug Edwards Double Thought Reading Doug Edwards Son Of DTR George D. Franzen The Dissolving Rubber Band John M. Bauman Painted Lips Ellipsest...) No.12; December, 1987 (pages 1429 to 1440): Shigeo Takagi Which Jacks Are Better? Robert Bengel A Coin "Pants"-Position Alfonso A New Twist Russ Burns Banned In Boston Jack Carpenter Four At Once Kevin Moran Winged Silver - Once More Emile Clifton Slide-Out Louis Falanga Pip Off Ellipsesf...) Special Index Insert - Volume 10, 1987

card that's covering the box - thumb on your side, fingers on the audience side - and pushes the box away from you (with the same hand) about two or three inches. As you replace the card, and move the box back toward you, your right thumbtip contacts the box's rim on your side, the front side of the card touches the pad on the far side. Push down with your thumb as you slide the box back toward you (to line up with the card at the left), secretly turning over the box. (Fig. 2 shows this in progress.)

that the coin has really!?) traveled! "I'll try that with a few coins at the same time - four coins at one time is much more difficult than only one coin." Put all four coins into the box, and move the box to the right side. Place both cards over it as you did at the start, and do the "shooting" to the left of the upper card once or twice. Then, leave the card at the left. With your right hand, raise the front side of the right card to flash the box and coins. Then, using both hands simultaneously, move both cards an inch or so closer to you. In the process, slightly raise the inner side of the right card so that you can "roll over" the box just as you did before. It works as well, after a little more practice, with four coins as with one. (See Afterthoughts.) "I'll even make it more difficult by covering the box." Your left hand picks up the lid and moves it to the right card. Your right hand raises that card at its inner side, timing it all properly, so that the lid goes onto the inverted box as your right hand removes the right card - and so that the fact that the box is inverted is not noticed. (See Fig. 3.)

)

The right-hand card is replaced onto the "lidded" box. Now, you're going to move the box, with the coins supposedly in it, to beneath the left card. Lift the right card with your left hand as your right hand takes the box. The timing here, of course, is crucial but not difficult. Your right hand lifts the box, leaving the stack of coins, but the lefthand card must be replaced, covering the coins, before those coins are seen. (See Fig. 4.)

The above has to be done with no hesitation; the box simply rolls over beneath the card. Surprisingly, this entire, instant, operation can be noiseless. I, personally, find that I can eliminate all noise, and make the move cleaner, by pressing down on card and box with my right fingers as the box makes its turn. This holds true even more so later on, as you'll see. Incidentally, when I cover my Okito Box with the "bellied" card, one long side doesn't quite touch the table; I find that this makes no difference. Continue: "Of course, making the coin go from right to left may be asking a bit too much. Left to right may be easier." As you talk, the box is moved to the left, like this: Lift the card, only on the thumb side (side nearer you) with your left hand as your right hand reaches under to take the box. Your fingers cover the top of the box to hide the fact that it's bottom up. Leave the coin in place as you take the box. Your left hand moves to the left card and raises its inner side in the same way as your right hand places the inverted box under it. This has to be a casual action. You are simply moving the box from beneath the right card to beneath the left card - but the coin is secretly left beneath the right card in the process. Say, "Now the coin in the box is here." Raise the left card on the audience side just enough to flash the box but not enough to expose the fact that it's bottom up. Remove your hand. Pretend to take an imaginary coin from the left card and toss it through the right card. Then, put a hand on each card and move them both, simultaneously, slightly toward you. In the process, your left hand raises the rear side of its card so that your left thumbtip can contact your edge of the empty box, rolling it over as described. Lift off both cards to show

Without pausing, place the "lidded" box beneath the left card. Be careful not to flash the open bottom of the box, of course. Pantomime the removing of the four coins from the left card and magically sending them through the right card. Lift both cards to show that the four coins have traveled! The routine is over but, as a closing gesture, lift the covered box and let the bottom fall out of the lid. Let an edge of the box hit your second fingertip as it drops - righting itself - in the fairly standard way. Leave everything on the table. Afterthoughts: The "roll over" of the box when T t contains four coins will, as I said, take a few tries. My suggestion of pressing down on card and box with your right fingers, as the box turns, helps here. Also - my Okito Box takes exactly six half dollars. I find that the "roll over" is more silent with five or six coins inside. You'll have to experiment. And, a bit of noise at that point would be considered normal, anyway. When doing the "roll over," try to work it so that your other hand is moving its card at the same time - and your attention is on that card. Russ feels that the shooting across of the card leaves a general impression with the spectators that the coins magically follow the "shooting" card. In any case, the routine is pretty.

= 1435

Jack Carpenter

Four at Once of the left half. Then, let half of the right half riffle off your right thumb; let the one remaining card (held-back ace) of the left half riffle off - and finish by riffling off all the remaining right-hand cards. If you want to stop here and check, just for learning purposes:From bottom up there's an ace at bottom of the left half, then a batch of left cards, then a single right-half ace, a batch of left cards, the remaining right half with an ace at its face and one left-side ace at its center.

|rom what I understand Steve Freeman did (does) a 4-ace revelation similar to this one. Jack heard about it, never saw it, and came up with his own method. When you get it flowing working smoothly - it's awfully pretty; it can make you look like one of the world's great card handlers! (You know I love 4-ace revelations anyway, don't you?) You have to be able to do a Zarrow shuffle (or Ed Mario's Perfect False Riffle Shuffle, out of Expert Card Conjuring), a tabled double cut (or transfer of the top card to the bottom) and a riffle shuffle, of course. My teaching may make this seem complicated it isn't at all. "Working" position is to secretly have two aces on bottom and two on top. Jack starts with the four aces on top - easier to false shuffle; then, he gets two to the bottom during a riffle shuffle or two. Up to you. When you have two aces on bottom and two on top: Table the deck to riffle-shuffle position; cut the top half to your left and Zarrow shuffle the right half to beneath the left half's top card (between its two aces). Or - do the above-mentioned Mario shuffle. Basically: Your left thumb lifts only the top card of the left half as your right thumb lifts all the right-half cards. Shuffle all the right cards onto the left half - under its top card. (Fig. 1 is your view; the shuffle is about to start.) Whichever you use, keep a break between the two halves with your thumbtip. (Or, with both thumbtips.) Now, the top card (ace) must be brought to the bottom of the lower half. It looks simply as if you cut the deck then split it for another riffle shuffle. Maintaining the break between the halves with your left thumbtip, your right thumbtip lifts the top card and keeps it separated. Your left hand brings the lower half onto the top (right-hand) half.(Fig. 2 shows this near completion.) The "broken" card (top card of right-hand half) coalesces to the bottom of the left-hand half as the left-hand half moves to the left (or the right-hand half moves to the right, or a combination of both) ready for another riffle shuffle. Position check: The left half has an ace at top and bottom; the right half has two aces at bottom.

Okay; now the riffle shuffle that sets you for the ending. I have to break it down for you of course; in performance, it simply looks like a riffle shuffle. Start to riffle cards off the left thumb - about half the left-hand cards. Then let one card (bottom ace) riffle off your right thumb. Then riffle all but the top card â&#x20AC;˘1436-

Push the two halves together, but not all the way; leave about three-quarters of an inch to go. There'll be a block (about 10-14 cards) of the right half on top. Using a "Triumph" handling - your hands are at the deck's left and right ends, respectively - move the top card only (top of deck and also top card of right half) to the left, flushing it with the left (endjogged) half. Your hands and fingers effectively cover all; it appears as if you're squaring the cards. You're almost ready to end. Still grasping left and right ends of the elongated deck with left and right hands, move the deck ends toward you - as if stripping the halves apart, but do not strip them apart. The inner near corners remain interlaced. (Fig. 3; your view.) Note that the left forefinger rests lightly on the top card of the left half. Now, the halves are pulled apart, like this: Your left forefingertip maintains light pressure on the left half's top card, keeping it stationary. Your right fingers grasp the right half deck - all but the lowermost, separated, ace. Relax your left second finger and thumb as your right hand moves its half to the right. This allows the left side's ace, the one that was riffled to center of the right half, to move along with the right half.

handlers! I've broken it all down into steps for you; you have to "blend" it all, of course. There is a bit of a "feel" or "knack" involved in the final stripout/display. Try it a few times only; familiarity will automatically give you that feel or knack. It's easy to do but a bit difficult to explain. It may necessitate a few attempts before you know what I'm talking about.

What's actually happening is: The right half is moving to the right with one card canted at its center; that canted card is moving out of the center of the left half. The left half is moving to the left with its ace (the original bottom card of the right half) canted from its center. The left half's top card (the "triumphed" card) moves along with the left half. -(Hopefully, Fig. 4 will clear this up for you. I've situated hands and cards so that all [or most] can be seen. It's stop-action.)

And, if you want a follow-up - arrange it so that the, say, four kings are directly above the two bottom aces when you go into the two vital riffle shuffles. At the end, the kings will be just above the bottom ace of the righthand half. So - after all that shuffling, you have "located" the aces in a picturesque and mysterious way - then, you can go right into a magical 4-king "reveal." Work it out.

As the halves move apart, start turning your hands palm up, turning the halves face up. The aces are displayed! (See Fig. 5.) Afterthoughts: As I said - do this smoothly, fluidly, with no hesitations - and you'll "come across" like one of the world's best card

KEVIN MORAN

WINGED SILVER - ONCE MORE

Although this is similar to existing routines, it does contain a couple of touches that makes it worthwhile to record here. A 5-coin stack is held at your right fingertips - your spectators should be aware of only four coins. Toss the coins into your left hand, but retain one in your right hand, on the pads of your fingertips; this is the, fairly standard by now, friction palm. I'm assuming you know it; it has been explained in Apocalypse before - once in another of Kevin's routines. It's the key to this routine. As you toss the coins, the lowermost one remains on your right second and third fingertip pads. (See Fig. 1.) Display the four coins on your left palm, making sure that one of them is at finger-palm position. Toss them back into your right hand, really Shuttle Passing them - i.e., one remains in left-hand finger palm, the other three join the hidden coin (the right-hand palmed coin, that is). You're displaying four coins on your right palm. Immediately, both hands turn palm down and relax, resting on the tabletop in loose fists. The lowermost right-hand coin is at frictionpalm position, ready to be held back. Easy enough; just let the stack rest on your second and third fingertip pads. Very little, if any, finger movement is necessary. The crux of the idea: Coins are tossed out of your hands onto the table (your hands are in loosely "cupped" position) with a slight forward tossing motion. (Keep the hands well separated.)

fingers. The left-hand finger-palmed coin remains hidden. (See Fig. 2.) I believe this is a David Roth idea. It's a casual way to "load" the hidden right-hand coin into your left hand. There are now two coins in your left hand; your spectators think there is only one coin there.

Pick up the three tabled coins with your right hand. Both hands move to "rest" position. Do a magical gesture perhaps sticking out your thumbs and tapping their tips together or circling one around the other. Repeat the tossout, retaining one coin in your right hand as explained. Two coins come out of each hand. Again, your right hand moves its coin from fingertip rest to Classic Palm. And, again, your fingertips push the coins forward a bit.

Do this, tossing one coin out of your left hand, and three coins out of your right hand. One right-hand coin is retained via the friction palm. Your hands immediately settle to loose-fist position behind the coins. The hidden coin is moved to right-hand Classic Palm. With your left fingertips, push the left coin forward a bit; your right fingertips push forward the three right coins, one at a time. This pushing-forward action allows you to open your hands in order to subliminally "register" the fact(?) that they're empty.

With your right hand, pick up the two left coins and toss them into your left hand along with the right-hand palmed coin. Pick up the two right coins with your right hand. Repeat the "travel" toss-out, retaining one coin in your right hand. Three coins come out of your left hand, one out of your right. (The righthand coins "talk" during the toss-out, but that is not a problem - the sound of the left-hand coins cover that talking.) Classic Palm the right-hand coin.

Pick up the left coin and Shuttle Pass it onto your right hand, as you say that that coin used to be here in your right hand. Then, place the coin onto your left palm with your right â&#x20AC;˘14371

coins onto the table toward your right hand; it holds back one coin via the friction palm. Your right hand simply moves out of the way - sort of lightly tossing its coin to join the three left-hand coins. You don't even have to move your right fingers - the movement of the hand to the right is enough to propel the coin. It's a natural Han Ping Chien action.

Okay; one coin remains to "travel." Pick up the three left coins with your left hand; close your left hand loosely around them. Your right hand rests behind the right-side coin in a loose fist. Say that you will make the last coin travel visibly. Your right hand (a coin still Classic-Palmed) picks up the single visible right coin - and tosses it into your left hand (which opens, and turns palm up) to join the three coins there. Say something inane, like - "Isn't that amazing?" Display the lefthand coins long enough for your spectators to see that there are four coins on your palm. One of them is in either finger-palm or ClassicPalm position.

With your right hand, push one coin (or more) forward - and let the hand be seen to be empty. Say, "Well; you've seen that last coin travel visibly - now I'll make it go invisibly." Your left hand, immediately after tossing its coins, settles to the tabletop in a loose fist.

You are now about to Han Ping Chlen the left-hand coins to beneath your right hand. The right hand is open and palm down, resting on the table. The left hand turns palm down tossing its coins (three of the four â&#x20AC;&#x201D; one is retained) to under your right hand. One or more will slide under the hand; release the righthand palmed coin to join them. If you don't want to retain the one left-hand coin in finger palm or Classic Palm, you can retain it via the friction palm, as you've been doing with your right hand.

Pick up three of the tabled coins with the right hand. Put them on top of your left fist (at the thumb opening) and let them sink down into the hand. There are four coins in that hand now. Your right hand picks up the one remaining coin, and Classic Palms it as you do a tossing gesture toward your left hand. Open both palm-down hands - four coins fall out of your left, none out of your right - the righthand coin remains in Classic Palm. That last coin has traveled from right to left hand - invisibly!

As a matter of fact, that's basically how Kevin does it now (he wrote to tell me so after sending the above). The right-hand hidden coin is at fingertip rest. The left hand tosses its

Afterthoughts: Lap or pocket the ClassicPalmed^ right-hand coin at your leisure. Learn this - it's a good, and easy to do, anywhereanytime routine.

Emile Clifton

Slide-Out right hand. As you do, relax the pressure of thumbtip and fingertips on the "broken" bottom card, letting that card fly or slide to the left. (See Fig. 2.)

This is an interesting, and "utilitarian", method for making it appear as if you're tossing any card out of the center of the deck when you're really tossing out the bottom card of the deck. It's easy to do and, with some thought and some practice, the illusion can be just about perfect. When I was originally told about the idea some years ago, I started doing it with a different handling; then I received Emile's write-up. I'll teach it as he does it he uses it to reveal the last ace in an acecutting routine - then, in the Afterthoughts, I'll describe the way I did it.

That's it. As I said, after a bit of practice you should be able to create an almost perfect illusion of that card coming out of center deck, at the separation. Incidentally; keep that separation for a few beats after the card slides out. This aids the illusion.

Control a selected card to the bottom of the deck. Hold the deck in your left hand as you rub your right forefingertip on your left sleeve "to create some static electricity". As you do this, get a break above the bottom card with your left little fingertip. (I don't bother with this break, as you'll see.)

Keeping your right forefinger straight and stiff (this is for a laugh), take the deck with your right hand; your right thumbtip takes over the break. (I get the break at my right thumbtip as I take the deck with my right hand simply by buckling the bottom card with my left fingers. I've explained this in Apocalypse a number of times.) With your right forefinger - at the deck's outer end - raise the top half of the deck. You might say, "I think your card is about... here," as you do this. (See Fig. 1.) Maintain that wide separation with your right forefinger as you do a sharp to-the-left movement with your

Afterthoughts: The way I did it until I received Emile's write-up: Hold the deck at its long sides with your right hand - more toward â&#x20AC;˘1438'

you, perhaps five to seven inches - then, immediately, move it smartly back toward you. As you do, release the right thumbtip hold on the "broken" card. The bottom card not only flips onto the table, but it does a half turn - the fulcrum is your second (and/or third) fingertip - and lands face up. Again, maintain the wide separation for a few beats to enhance the illusion of the card coming out of that separation. Either way is good - try them both. And, if you break, say, four cards using either handling, you can make it appear as if four cards fly out of the center "mouth" or separation!

the right end. Your second and third fingertips should not extend too far past the bottom of the deck. Your right thumbtip has a break above the bottom card. (See Fig. 3.) You should be facing your spectators for this; and you can be seated or standing. With your right forefingertip, raise the top half of the deck at the outer long side, creating the wide separation. (See Fig. 4.) This, of course, is done openly and obviously. the

For this, the card doesn't slide or fly to left. Move your hand forward - away from

Louis Falanga

Pipqff

This is Louis' version of Dai Vernon's "Picking Off The Pip" out of INNER SECRETS OF CARD MAGIC, page 47. Louis' presentation and handling makes iU an effective layman item. The change used is the Erdnase change from EXPERT AT THE CARD TABLE. I'm sure you know it, but I'll describe it briefly - just in case. The only preparation is to have the 2H on top, and the 3H second from top. To perform: Do a couple of jog shuffles, keeping the top two cards in place. Finally, do the jog shuffle leaving the injogged card and the 2H and 3H at approximate center. Lift up on the injogged card and get a left little fingertip break beneath it - above the 2H. Do the standard riffle force, forcing the 2H. (Riffle down at outer left corner with left thumb asking to be stopped. When you are, your right hand lifts off the half above the break.) Deal off the top card of the left-hand half (2H). Cut the deck at that point, bringing the 3H to the top of the deck.

Turn the deck face up, display the 3H, and say, "And there's your card." When this is denied, ask for the name of his card. As soon as he says, "The two of hearts," do the Erdnase color change. Briefly: Your right fingers push the 3H outward as if to display it more clearly. (Fig. 2.) The "callus" part of your right palm, just below the base of your fingers, contacts the second-from-face card and slides it inward. (Fig. 3. ) As soon as the outer end of that second-from-face card clears the inner end of the face card, your left forefinger pushes flush the original face card as your right hand slides the original second card onto the face of the deck. (Fig. 4 shows the situation just before the move ends.)

As your spectator looks at and remembers the 2H, prepare the top card of the deck for Tilt. (The top card is raised at the inner end and a fairly wide separation kept between its inner end and the deck.) Take the 2H and apparently place it to center deck, really doing Tilt and placing it to second from top. (See Fig. 1.) Do a jog shuffle, keeping the two vital cards on top. Do another overhand shuffle. This time running the top card, then the next card, then shuffle off. This brings the two vital cards to the bottom in needed order. Do one more overhand shuffle - this time, shuffle off about three-quarters of the deck, injog the next card then throw the remaining cards onto that. You have an injogged card closer to top, just beneath your two vital cards. Get a left little fingertip break above the injogged card (beneath the 3H and 2 H ) . Tell your spectator that he can finish the trick for you - all he has to do is give you a number from 1 to 5. You'll cut that number of times and find his card. Whatever number he gives you, undercut that number of times. It's just as if you're doing a double or triple undercut. If the number is 1, cut to the break. If it's 2, cut once below the break, bringing that portion to the top, then cut to the break, and so on. You've brought the 3H to the bottom (the 2H is directly above i t ) .

When the change is completed your right hand is covering the deck. As that hand moves inward, off the deck, your left thumb covers the outer left index of the card. When your right hand reaches center card "pinch" together your thumbtip and forefingertip as if to grasp the center pip of the 3H, covering that center pip area. Your right thumb covers the inner right index. (Fig. 5.) The idea, of course, is that your spectator should think it's still the 3H - nothing has happened so far as he's concerned. "Your card wasn't the three of hearts? It was the two? Oh... in that case, all I have to do is 'pinch' off this center pip!" Pantomime

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Any color change that brings the second card to the face would do, of course. It's the way that Louis put it all together, his handling, particularly just after the change - that "makes" it. He uses the change described here.

just that, tossing it into the air - the 2H is displayed! Afterthoughts: It's a quick trick that elicilfs a good reaction from a lay audience.

Ellipses (...) There's nothing new under the sun - or under the ceiling. The first effect in a book that came out last May - it's very good, incidentally - is a card and dollar bill on ceiling effect. Oh well - no credit to Apocalypse, of course. Check out Jay Bedsworth's Hit The Ceiling! in the May, 1984 issue of Apocalypse. Same effect, better method in Apocalypse, including the spin as you toss, which others are claiming as theirs. It's nothing new, folk!

*** Oh, just for the record...I had last month's rubber band idea on file long before a book with a similar idea appeared. *•** There's probably a name for the syndrome, but I don't know people calling in desperation, trying to obtain a book of mine and if the book is re-printed, those people are nowhere to be You can't believe the calls I'm getting now for QUANTUM LEAPS know, I may re-print one or both in a few years...I'm keeping a

it. It's the strange concept of that's out of print. Then, when seen...they don't buy the book! and REPUTATION-MAKERS. I don't list!

Part of that same syndrome, I guess: I have many letters like this - I'll pick one...here are excerpts: "I know you get literally tons of fan mail, but had to send you one. Tried your books. All I can say is that I kick myself for not getting them before. Your books have given me so many fantastic routines, I can't believe it. I almost pinch myself to make sure I'm not dreaming. Your effects & writing are absolutely awe inspiring..." And etc. Direct quotes from a real fan letter. The point — this guy does not subscribe to Apocalypse nor does he have my video tape! Some fan(s). Sorry...I don't understand it. *** Excerpts from a Rick Johnsson review of Apocalypse, from the November, 1986 Linking Ring: "This may be somewhat futile and constitute a whipping of the dead horse to review Harry's ever-more-popular... 'cause you already know as much or more than I about the magazine. I guess this is for the few newcomers who may not be familiar or for those who have lived in the Alaskan tundra or in the rain forests of the Amazon for the last decade. HL will probably shoot back a correction showing that he has a wide following in the Amazon...I would not doubt it. "You don't get that kind of loyal following by consistently giving anything less than high quality material in more than sufficient quantity. His contributors are a veritable who's who of close-up magic. Harry gives us his opinion and more in his ellipsical coda each month, and gives all his two-cents worth in the form of Afterthoughts at the end of each item, adding luster and the benefit of his experience. "Each issue averages 6 to 8 items. There is always one or more in each that lift me right up off the ground and sends me scurrying to try it out. Rarely am I disappointed. There seem to be three kinds of tricks in Apocalypse: good, better and best! I suspect that if you subscribed and later wrote to Harry for a refund due to dissatisfaction, you'd be the first to have done so." Now, there's a man with taste! ***

This issue closes out the tenth year of Apocalypse! The next issue starts year number and volume number eleven. As I've said in other December issues - you have a lot to do with it. I do need your support. I need that support financially...without your subscription checks Apocalypse couldn't survive. I also need the moral support... I need to know that you want Apocalypse to keep comin' at you. I need your contributions; can use non-card stuff - but send anything that's good. Had anyone told me back in 1977/78 (first issue is January, 1978) that Apocalypse would run all this time - never missing a month - I'd have thought the goat cheese had fallen off his cracker! You keep subscribing - I'll keep writing. Don't leave me now! *** * HAVE A HAPPY HOLIDAY - AND A HEALTHY NEW YEAR! * *** "

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