Volumes 40 January 1983 through December 1987 Written, Edited and Published by Harry Lorayne Illustrated by Robert Lorayne Joseph Wierzbicki L&L PUBLISHING Post Office Box 100 Tahoma, California 96142 U.S.A.WORKS BY HARRY LORAYNE Booxs Close-Up Card Magic + Personal Secrets « My Favorite Card Tricks Deck-Sterity + Best Of Bill-Fooled The Hundred Dollar Book + Dingle’s Deceptions Reputation-Makers » The Great Divide » Tarbell #7 Rim Shots + Afterthoughts + The Epitome Location ‘The Magic Book + Finger Fantasies + Card Animations ihe Card Classics of Ken Kfenzel + Quantum Leaps Best of Friends, Volume I+ Best of Friends, Votes II Stat Quality + Trend Setters « Doug Edwards Packs A Wallop The Himber Wallet Book + Apocalypse Volumes 1-5 How To Develop A Super-Power Memory Secrets of Mind Power + Instant Mind Power Miracle Math + Memory Isometrics Course Mental Magnetism Course + Good Memory_—Good Student! Good Memory—Successful Student! + The Memory Book. Remembering People (The Key to Success) ‘The Page-A-Minute Memory Book * Memory Makes Money Super Memory—Super Student ‘The MEMORY POWER Package (as seen on national television) Monthly magic magazine: APOCALYPSE Vines - Stars of Magic + Magic Video #2 + L&:L Publishing Video Series Printed in the United'States-of AniericaFOREWORD I'm not only a professional cynic, I'm also a professional pessimist. I firmly believe in Murphy’s Law (if anything can go wrong, it will) and in Smith’s Law, or is it Lorayne’s Law?—Murphy is an optimist! When Louis Falanga (L & L Publishing) offered quite a bit of money for the right to publish these bound volumes of Apocalypse, I told him that he wouldn't sell many becayse I'd had lots of subscribers—they already had the single issues. He insisted, he used flattery (“It will be an honor for L & L to publish your magazine, just to have your name on our list, and Apocalypse is absolutely the best magic magazine ever, unbelievable magic,” and so on). Well, flattery will get you anywhere. With trepidation, I gave (sold) him the rights to do the four volumes of the twenty years of Apocalypse. Well, the response to the first bound volume (Volumes 1 to 5) has been a revelation. I'm both (pleasantly) shocked and overwhelmed. And pleased. Pleased at the number of people who've’ purchased the book, pleased at the word of mouth and the excitement it has caused. How can I not be pleased with all the calls and letters I've received? Remarks like— ; “I simply can’t express the pleasure I’ve already gotten out of this volume, and I'm only halfway through it.” “Thanks for a real magic magazine.” “It’s not just the tricks in this wonderful magazine, it’s your personal touch, your ‘golden’ writing style. I feel as if you're in my living room, teaching me one on one.” “I'm'sad and happy at the same time—sad that I didn’t subscribe to Apocalypse originally, happy that you're putting them into bound volumes. I can’t wait for the next three!” I blush to print some of the others. What I wrote in the first two paragraphs of the Foreword in the first volume really “says” it. I wrote (with changes to fit): I had the pleasure, the excitement, of learning all the material, and fooling all and sundry with it, before anyone else (except the contributors) did. Then I'd write it all for Apocalypse. Now, I look over the indexes (that originally appeared in each December issue] of these five volumes, five years, and I'm simply amazed at the quantity and quality of the magic—the effects, routines, ideas—in over 700 jam-packed pages. Cards, coins, bills, ropes, cups andballs, mental effects, dice, cigarettes, rings, business cards, safety pins, thimbles, sponge balls, rubber bands, silks, canes, chains, drinking glasses, salt, thread, key/spoon/fork bending—and on and on, Over 500 items, plus Variations And Additions, Editorials, Ellipses (. . .), Out To Lunch columns. I had absolutely no intention of publishing Apocalypse for twenty years. One of the reasons that I did continue to publish it is that I had, and kept reééiving, all this wonderful material from so many contributors. (It seems that it had become the “thing®-to-be~ published in Apocalypse.) It would have been’a shame, and it would have upset me, not to publish that material. So—I had no choice. I had “a tiger by the tail.” + I also spoke about the magic magazine that I eagerly looked forward to receiving when I was very young and desperately interested in learning magic. I was talking about Jean Hugard’s Hugard’s Magic Monthly. | felt that there hadn't been a magic magazine through all the years that surpassed:or matched it. My goal was to fill that Void. From the response I've received it seems as if that void has been filled. I couldn't be more pleased. Boy, do I envy you. I envy your upcoming learning experience, your pleasant and oh-so-exciting journey through the pages that follow. Enjoy! “Harry Loraynea The Effects: BILLS Pinatrated Bill ( page 1333, hard Bartram, BOSTON Box Banned In Boston (Russ Burns) -No.12, page 1434 ITLE (Miniature) Magic By The Number (Gilles Couture) page 1337 ARDS A-Foldable (Jim Patton) Ail Wrong! (lon Frost). eae Anewer To Erdnase (Mitchell Silverman) answer Te, Nobody (Mitchell Silvernen) bu Gee! (Richard Vollmer) Blown Away (Juan Tanariz).00001! 1314 1313 1397 1398 L386 i369, Card To Top (Gilles Couture)....00c..scslc 1318 Center-To-botton Reverse (Woody Landers) . 1331 Central Limit (Steve Rogers). 1383 Challenge Spectator Peek (Steve Draun)- 336i "Clean" Trish, A (Hark Sicher).« : rane Divining Card, The (David Regal) 3301 Double Thought Reading (Doug Edw: 1424 Enlarger (Nike Bornstein)... 1408 Paces Minus One (J. Ce Doty) ....00. 3363 Flaune I (Gerald Deutsen)- 222221112 1397 Flourish Control (Doug Edvards).. 1316 Four At Once (Jack Carpenter) 13s. Four-Instants (Mike Sornstein) - 1325, Fuddie Aces (Jon Racherbauner) iii "Generally Speaking (John W. McClure). i335 Gold Diggers Of 1987 (Ian Baxter).....- 4373 High-Rise Assembly (Edward Marlo) 3302 eriCan/t Do This ricki" (Doug Eawarde/iiarcy Lorayne). 138i In-Atebin-Ation (Rick Silberman). 1375 Impossible S-ace Change (Juan Tamariz 1342 In Any Case (Steven Cohen) 1366 Instant Visible Change (Doug Edwards) 3378 going, Toter OF Pacteboards, The (Ripple Terrace). 3309 Multifeked Card, The (Ian Baxter). 5 i321 New Twist, A (alfonso) 3433 No Quarte: (Randy Tenner). 1323 Not By Sight (Tetsuyoshi Hoshino). 1329 One By One (Justin Higham) 1402 Gne-Cord Triumph Revesation (Gary Guciiet). 1307 Out Of Bounds (J. K. Hartman). 3352 Overclock (Randy’Wakeman)....- i210 Painted Lips (Jehn M. Baunan). a2) Pip Off (Lous Falanga).sss ss 3033 Pocketed! (Hippie Torraies).... Ta Relativicy's Relacive (erle’BeGanps)- 1338 Slide-Out’ (Emile Clifton)....++ 1a38 Slowed Up (Ken Krenzel). : is) Son Of DER (Doug Edward) Fre Spectator On Stage (Randy Wakeman)... 1357 Spread/Wave, change/Froduccion (Steven Schneiderain) 1354 Square-Up Color Change (Jim Patton): .. 4330 Sting, The (Wait Maddison)... 1393 Stretch Of The Inagination (Mack Sicher) 1400 Swivel Color Change (Jim Patton)... 1389 Three-Second Wonder (Gary Ouellet) 4335tt a en a ep epee ppm Trappings Of A Miracle (J. K. Hartman)... Triumphant False Shuffle (Randy Tanner) | Twenty Points Less (Marvin Steiner). Ultimate Move, The (Harry Loreyne) Ultra Surprise (Doug Edwards). Updated Force, An (Eduard Mario}. Utility Spread (Peter Pellikaan).. Ucility Spread Plus (Harry-Lorayne) Which Jacks Are Better? (chigeo Takagi) MALE The’ Cards Macch (Larry Becker) Wiped Out (Every Chapman) coms Banned In Boston (Russ Burns). Blue Plate Special (Rick sherman) Gartwheel Change, The (Hichael Hubiaaccia) Catapult Coin {Henry Mayol) Coin’ "Pants"'-Position, A (Robert Bengel) . Extra Coins Across (Jonathan Townsend) - Hot Potato Transpo (Sol Stone) Knihe-A-knihe (Paul W. Cummins). Kring Pass (Jason Krumholts). Macoins (Gilles Couture) Now You See Te (Rich Cowley). One By One (Justin Highan). es Penetrating Transposition ( one)! Purse-Uing The Mine. (Robert Bengel)... Reverse Double Click Pass (Michael Rubinstein). Revolving Han Ping Chien (Jonathan Townsend) Sonersault "Dunp' Choice (Jeff Moche)- Split Secoined (Sol Stone) --. Three-Beat Glick Fags (Michaei Rubinstein’. Three To Go (Bruce Berkowite) fl ‘Trouser Pockat Topit (John V, Hope)... Winged Silver-once More (Kevin Moran). CUPS & BALLS ‘Two € & B Goodies (Dan Fleshman} DICE Dice Twice (Salverio Piacente). page 1409 High-Rise Assembly (Edward Mario)... Page 1302 MATCHBOK Im-Atchin-Ation (Rick Silberman)... s1:No.7, page 1375 KIT Box Somersault "Dump" Choice (Jeff Moche) sNo.?, page 1377 PIN (Safety) Pinatrated S111 (Richard Bartram, Jr.)- No.4, page 1333 PLATE Blue Plate Special (Rick Sherman). sevssessNow3, page 1328 RING (finger) Boomering (Gary Ouellet) : 8, page 1387 Kring Pass (Jason krumhoita) 8) page 1392 Snap Finger Ring/Link (Este SeCamps) 27) page 1372 Through The Rope (Mark Sicher) eee 5 5) page 1348 Uncanny Penetrating Finger Ring, The (dr. Rajacesh Madhok) |. No.5; page 1350 ROPE Boomering (Gary Ouellet). 50 page 1387 Through The Rope (Mark Sicher). page 1348, RUBBER -BAND.. - Dissolving Rubber Band, The (George D. Franzen). Out Of Bounds (J. K. Hartman). 1, page 1426 <5; page 1352 | a nl“| "snap" Finger Ring/Link (Eric DeCamps) - cesNo-7, page 1372 Seretch Of The Insgination (Mark Sichez) : Page 1400 E Uncanny Penetrating Finger Ring, The (Dr: Rajneesh Madhok) « Page 1350 sux . Catapult Cols (Henry Mayol). -No.3, page 1330 soar "Clean" Trick, A (Nark Sicher). SPONGE BALL ‘Sponge Ball Sleight (Gary Ouellet). + page 1318 ceseesseessssNe-9, page 1402 ‘TUNE IP Leaning Tower Of Pasteboards, The (Hippie Torrales) + page 1309 APOCALYPSE VARIATIONS OR ADDITIONS. ceevseeessNoe.4,7,8,125 pgs. 1340,1377,1390,1423 OUT TO LUNGH (Harry Lorayne) seveseiNoa.4,9} pages 1344,1408 --___.__._._} { | ! | | 3 Alfonso. pg.1433 Franzen, George D. -.Pg-1426 The Contributors: | g Frovts Ron. PES a 8 Bartram, Jr., Richard. ..1333 « 8 Bertram, Jens fhichard. +1733 artman, J. K. -.1305 71352, 3 2 Baxcer, fanv..s.bg.i32t1973 138 8 Q Becker, Larry. +Pg.1349 Higham, Justin.. Pg. 1492 8 8. Bengel, Robert... 12981432 Hope, John V. tpg 1359 Rogers, Steve........Pg.1383 8 B Bengel, Robert. ----1293,1432 Hoghinoy Tetauyochis.Pg.1329 «Rebinetein, Michael. .si362, B Bormsteiny mikes...i328;1408 i3e5ia3 B 2 Bornes Ruse” eee xeanzel, Kens... ..1297,1328 8 3 Erombeltzs Jason, lcrsPg.1091 Sabatinb, Vincent....Pg.1491 3 carpenter, Jack......Pe-1436 Schneide‘nan, Sueven. sf 133 8 8 Chapman. ‘Evert. & LsConte, Jim........+Pg.1377 Sherman, Rick. 8 3 cnshtsny eniie Tancers? woody. cis31 | Sithers "Mark 8 § Gohens Seevens. Trayne, Harry: vides 8 Bohs seience ei 1025 setberamn, Rick.. 5 8 Couttee, Gilles. ..i31601337, Maddison, Walt.......?g.1393 Silverman, Miccheli::.-1397, 8 5 32) Magna. "RaSneesh 2 7Pg1390 i338 B S covey, Richs..-..++-Pg.399 Maroy Edvard. 11,1308 ;4360 Steiner Mar dais 8 3 Gamins, Paul #. .00Fg1405 Mayol Henry... Stoner Sole aao,istet | E 3 wetiurey Jot : 3 pecans, ex 1336,1971 Hache Jel” Takagi, Shigeo.....;.7g.1429 g Beeaahe’stit Pgiiaee ran, Revia Tanti, Juanes. ccidesiaes 8 3 Deutsch, Geveids 11. 0.PE 1397 Hetnery mandy. 110 ey 8 Doty, J. ¢. Uipgi1363 Ouellet, Gar} 1307, 133: Torrales, Hippie. /.1309)1413 8 GR teeter gee Yoveoottoneaaas, Eatnag, SoPltfaal : F eaearde, Doogeoss-2H6,1319, Fattony dimcscesa1214,2309, i g ys 'tae1 38%, volimer, Richard.....P¢.1386 8 1426/1425) Peliikaan, Pecer.....Pg.1419 $ 3 3436 Piacente, Salverio. -.P5-1409 Wakeman, Randy.....1357,1410 Bear eee atte | eee eae fae i Fleshman, Dans.s..1c.Pg1386 Regal, David..." 130151390, ARTWORK... ROBERT E, LORAYNE 8 g 1296 8 $Soccocosassensosnaasebs00000000000003000000000;a7ecse2G9RsaNa7ESEEsERaGEEoDEsDEsSasesacanaccancocaneoH ‘ack C159 5.1324 ira tapping Grist aioe (eardci. logical Double Litt oveynel Sorgen Coane (enrés) The Sleights Described veche cal‘faveve (Rteaei)ssctoss WITHIN Routines: Oran semeleay tharho}seessccsoooen Rubvioay Venuah fearde)es- Ssndwich tose (cards Secret cara Folding. ‘urnover (Paddle) Hove ine) Ciipg.364No.1; January, 1987 (pages 1297 to 1308) Slowed Up Porse-uihg The Mint The Divining card Wgn-Riee Abeeably Trappings Of A Miracle Revolving Han Ping Chien One-cardTriusph Revelscion Ken Krenzel Robert Bengel David Regal’ Edvard Marlo I,K. Harenan Jonathan’ Townsend Gary Oveltee Bitipses(...) No.2) Febru 1987 (pages 1309 to 1320) Special Ali-tare Tesue Hippie Torrales Jon Racherbauner Ron Frost Sim Patton John W. McClure Doug Edwards Mark Sicher Gilles Couture Doug Edwards Leaning Tower Of Pasteboards Fudéle Aces ALL rong! s-Foldable "General"Ly Speaking Flourish Control A "Clean" Trick ‘Card To Top Uléra Surprise’ Ellipses(. No.3; March, 1987 (pages 1321 co 1332) Ten Baxter Randy Tanner Jonathan Townsend Nike Bornstein sk Sherman Tetsuyoshi Hoshino Woody Landers Henry Mayol ‘The Multifaied Card Wo Quarter Extra Coins Across Four-Inetanes Blue Plate Special Not By Sight Center-To-Boetom Reverse Catapult Coin Ellipsest No.4; April, 1987 (paget 1333 co 1344): Richard Bartram, Jr. Pinateated Bi11 Gary Ouellee. ‘Three-Second Wonder Gilles Couture Magic By The Number Eric. DeCampe Relstivity's Relative Sol Stone. Penetrating Transposition Apocalypse Variations Or Adcitions Juan Tanati2, Inpossible 3-Ace Change Evert Chapman Wiped Out” Out ‘To Lunch No.5; May, 1987 (pages 1365 to 1356) The Ultimate Nove Through The Rope "well ‘The Cards Match" Penetrating Finger Ring out OF Bounds ‘Three To Go Spread/Wave Change/Production ry Lorayne tare sicher Unrey becker Drv Rajneesh Madnok 3.x. Harenan Bruce Berkowtee Steven, Schaeidersan Ellipsest-s-) No.6; June, 1987 (pages 1357 to 1368) Spectator On Stage Trouser Pocket Te} An Updated Force Steve Draun’ __Chellenge Spectator Peek Michael Rubinstein Three-Beat Click Pass Steven Cohen To Any Case Randy Tanner Tetunphant False Shuffle Ellipses(...) Randy Wakeman Sohn v. Hope Baward Marlo The Issue: No.7; July, 1987 (pages 1369 to 1380): Juan Tanariz Bric Decamps Tan Baxcer Blown Away Snap" Finger Ring/Link Gold Diggers of 1987 Sol. Stone Split Secoined Rick Silberman, In-Atchin-Ation Apocalypse Variations Or Additions Jeff Meche Somersault "Dump" Choice Doug Edvards Instant Vis{ble Change E1lipses(. No.8; August, 1987 (pages 1381 co 1392) Edvards/Lorayne "I Can't Do This Trick!" Steve Rogers Central Limit Salomon Cohn Watch The Coin! Richaré Volimer fw cee! Gary Ouelier, Boomering Sim Paton Swivel Color Change ‘apocalypse Variations Or Additions sim Patton Square-Up Color Change Jason Krumholtz “Kring Pass Ellipses(...) No.9; Septenber, 1987 (pages 1393 to 1404) Wale Maddison The Sting Dan Fleshman Two C'& 5 Goodies Gerald Deutsch Flaunt Ie Mitchell Sliverman Answer To Erdnase Mitchell Silverman ‘answer To Nobody Rich Cowley Yow You See Ie Mark Sicher Stretch Of The Imagination Gary Ouellet ‘Sponge Ball Stesght Justin Higham One By One je Te Lunch No.i0; October, 1987 (pages 1405 ¢o 1416) Knihe-A-Knihe lua? .W snimmuc Mike Bornstein Enlarger Salverio Piacente fee Twice Randy Wakeman, overclock Sol, Stone Hot Potate Transpo Hippie Torrales Pocketed! Marvin Steiner Ellipses( Twenty Points Less No.11; Novenber, 1987 (pages 1417 to 1428) Gille Couture Peter Pellikaan Ueility Spread Harry Lorayne ueslity Spread Plus ‘Apocalypse Variations Or Additions Michael Rubinstein The Cartwheel Change Doug Edwards Double Thought Reading Doug Edwards Son OF DTS George D. Franzen The Dissolvin John 'M. Bauman Painted Lips Nacoins Rubber Band Llipses(. ++) No.12; December, 1987 (pages 1429 to 1440): Shigeo Takagi Robert Benge) Alfonso Russ Burns Jack Carpenter Kevin Moran Waseh J A Coin" A New Twise Banned In Boston Four Ae Once Winged Silver ~ Once Hore Emile clifton ‘Siide~Oue House Falanga Pip Off" etispass(. > ‘Special Index Insert - Volume 10, 1387 e Are Better? fancs"=PositionKEN KRENZEL SLOWED UP Men alveys Liked Bob MeAllister's "ineide— will be much easier for you to follow if you are faniliar with Bob's handling If you aren't, check it gue ia the’ November, 1985 Apocalypse’ BENGEL A picture (court) card is pre~ pared with one cut of an Exacto' razor quarters, ify wpake the folding during performance easier), but ff isn't really necessary. ‘That's up to you. To Perform: Renove the prepared card your deck or from your pockel. fold i¢ ie cue Bdge with your right hand; thumbtip on the card's ip on the card's back. You can k of the card; the cut can't be not on a picture cards Fold the card into quarters, Like this: Your pelmoup left hand grasps ‘the free ent of the escu— Palm fovord ene card's faces vor seetShtee tz Fingertip are each at one of the con eng. Those two fingers wiil F613 lf lengthoise - along the slit starting. ineiden- Novenbor, 1985 hows the forefinger at one © COPYGHT ey LennFold that outer end in half; your right forefingertip remains on, and presses down on, the slit, Your right second fingertip moves on- fo ite ide of the folded end and your right Ehubeip soves onto its side. Your right fore Eingertip, pressing down on the slit, is what keeps the slit from spreading and/or being seen. If that slic is off center, pressure from that forefingercip witl center # Your right chunbtip and second fingertip press againee cach other, Keeping the inner cut End (ene evo. separated Long halves) stationary. Your left “fingers haven't creased their fold yet. (Fig. 3; the dare Line is the slit. I'm Showing it for teaching purposes, of course.) Oksy; exease the oucer end's Fold with the Left singers, 1 4 \ Az, hts, point, ene, right end of the card tolded. atfeerestly than in Bob's handling Te ss folded co the Lee, coward you. (In Bob's handling, it's folded away from you,) Simple Fenily ©’ you wane one of the “hoose” _quareers foward you, and this does st. The Lefe end of that quarter ‘will be slightly "shore." That's Gust, about auconacte. “Soy it's easy to lee 1 evode your Tefe chumbeip. Do ehac = lee ie ‘As Le does, your right thumb moves Eo the Cop ‘of the “package,” co the slit, actur 1y,, aod starts fo open’ chat single quarter, Youtte “Teaving fers/layers. (Fig. & Shows chat single quarter fuse stureiag to un fold. Your fingers Shade all from the font.) Unfold the quarter card all the way. And the sene time, your left hand moves its por Elon upward/righ? go chat the package 1s at al— Rost right angle to your right hand. (Fig. 5.) Fe SELL holding’ the’ com » and back-out) cere. the front, it sppears only asi cely folded Nos” - turn your right hand palm dow and place the package onto your paln-up left hand = along the length of the hand. The single (hid- Gen)" quarter should go right into finger-paln position. The outer left corner of the package Ehoulé "lock in to che fleshy bese of che Left thumb. (Fig. 6. Tn performance, the left fingers would’ be toward’ your spectator: Tive 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 (ae you Fenove your right hand). The point here s8 to flash the package to your spectator. (Fig. 7 is how it should look co him: Fig. 8 {6 che true situation.) Hold thet position for only a beat Or so. Then close your feft fingers = that will automatically fold down the single (noe) face- Up loose quarter card! Its outer left corns Should buct into your chumb base -- and hold. (Pig. 9 is an exposed view. During performance, your Fingers cover the face-up situation.) oN \ Pause for a deat. Do a magical gesture o- ver your left hand with your right hand. Then, Slowly open your Left hand £0 show the face-up package! infald. the card slowly and careful Eovshew chae the ‘entire card hay turned itself inside out it's sli face-up. (The fop two 1ay- gfe will fold co your right.) Obviously, you have “to keep the Ziit hidden - keep chose too gusrter cards togeener. ‘he handling here will SESLT into place for you as you work with the see. 8 Second Handling: I like this cone better. iets only the end hendling thac'e a bie difter- ent. "Fold the card exectly as explained; the Loose quarter is secretly spened, eiso as ex plained. Hold the package in your right hand that dt is nor tilted to a right angle. The three-layer part of the card points straight out of your Fingertips:Display the back of che folded card for a bear the Single quarter is hidden by your right fingers, Then ‘place it onto your left pein ~ at righc angie. (fig. 10.) Torn yo Geet hand toward "you~ co. palm-down position This will “mitonaticatiy. curn “over the single loose quarter! (Fig. 11 shows this in progress.) Close jour left hand around the package earance, you are simply grasping the f Esrd: Your tight hand doce {es tagical gescuces Then, turn your lefe fist fingers up and slowly open’ che hand. Your thumb rests on’the package fo make sure thet if oeon'e spread open pre 10 Robert Bengel 11 maturely. Slowly unfold the package to show that the card has turned inside outs Afterchoughts: What Ken does is to_go di- rectly into 8 totn-and-restores care effect = one in which one quarter care is torn off as the first part of the routine ~ inmedictely ef ter Slowed’ Up. That "covers" che prepared sLic He usec either Paul Harris’ ov ‘Danny Koren’ s petted. (See the afterthoughts of the original Bob McAllister routine.) ff you don't went Co Go that, simply pocket’ the card, or = tear fe into pieces and drop the pieces oito the table: Purse-uing the Mint WE ve seen Bob perform this routine for a fairly large group. He does At standing. behind a table; the fable hes @ close-up met on it. it goes over well. The basic effect, A purce frame Es" Gisptayed, “so is 2 wand. ‘The wand is spans the purse frame tapped, and a coin is produced from the frane. Four coins are eventually pro duced, “and thexe are two good surprise “kick ers" dc the end, No Lapping, servantes, or top- LES are needed pple ° What you do need are four coins (Sob uses half dollars}; a purse frane ~ a fairly common magic prop, just the small purse frame, without the Leather pouch”. (see The PurLoined the September, 1983 issue of Apoc matching regular small purse; a and the ebsticy to spin it in a flow her. Keep the rogutar purse in your left our- Side jacket pocket. When 3 you have fo "set" two coins into left-hand finger palm, and the other two in right-hand finger palm: They're in "high finger palm so chat the Spectators cen see your “empty” palms. (Fig. 1 is the basic position, the coins can't be seen. Fig. 2 shows the hand holding the wand walle the two coins ere finger palmed.) Since this is not a rout: I'LL assume that you mover = I won't. des: aiso let you £11 in your ovm patti fhe Few necessary ymin detail, 1/11 ‘and pre- ————_— qK— 23 sentation. Toward the end of the routine, Bob Uses a femsie helper ~ he keeps her at his side ght 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 Fight hand displays the wand. Obvicusty, you have vo be familiar with the angles. Your spec~ ors! attention is on the two displayed items and they see both your palme; your hands seer fo be empty except for the purse frame and the wand. You might talk aboue Pnvisible coins be- Ing in the Invisible part of the purse: 4 / With your right hand, place the vand under your lett "sre. ‘this frees your right banc so that, ie can taice the purse frame and display ie fo the right side of your audience: Then, place it into! your lefe hand = to "production post Elon. that is, the upper metal franes ~~ the snap’ part ~~. "run along. your Left forefinger: only a small part of the frame is visible. Sek Fig. “3, "which’ ts “an exposed. perforner's view The purse frane ic shown closed; when ready to produce," you'd open it, of course.) Take che wand with your right hand, spin ig and tap the frame at the end of the spin. Place the wand back to under your left ara and reach into the (open) purse frame and "produce" one coin (one of the lefc-hand finger-palmedcoins, of course). Do not allow the two coins fo Meark" as you do this = not Coo mich, anyway. Bisplay the coin at your right fingertips, chen cable it near the ouker-right corner of the mat. Take the ‘purse frame with your right hend and Table it near the cofn. Take the wand with your Eight hand, tap frane and coin, and say, "This TiSuhas the coin would Look like if you could see'st" — or anything to that effect. Leave frane ahd coin on the table and pro- duce the ‘second coins Ie should lock as if the Eoin appears atthe end of ‘the wand. Te hes to Seidone with proper timing, obviously. It's che Renaining ‘Tefechand finger-palmed coin that's produced: It is puched co your fingertips wich Boer chusb, ‘Then, timing Le mith the wand spiny 3oeh the coin up over your forefinger. The wand Popicning) is ‘the misdirection; an end should BE The Wotn as that” coin pope up into view. tig. 4.) What Bob does 1s co. stop the spinning wand’ by ieteing as end bit the coin —~ and C0 produce a clink. Display this coin leave it in your Lefe hand. Bigce’ the wand under your Left are, With Jour right hand, pick up the first tabled coin Tad drop it onto ‘the left-hand coin. | Display these two coins to spectators slightly to your 308! Ghuctie Pass ‘then to your tight hend as you display to people slightly to your right Uke “cup. eftchand coins remain in left-hand Enger peli. your spectators believe that you Rave tofsed ‘chen onto your Fight hand.) In 8p- pearance, you've tossed the coins from left to Bight hand only for displey purposes. Table the two right-hand coins near the outer-right corner of the mat- Take the purse frane and place it back into left-hand produc tion’ position. Take the wand from under your left avm, spin it, tap the frame, put che wand back under your left arm ~ and produce another, coin (coin #3) from che purse frame Display this coin with your right hand and then pretend to place st back into the purse Erane Keely keep it in your right hand [fin ger palm) as your Left hand lovers to show both fhe [purse frame and the coin, What you've done fo a Shuttle Pass, (Fig. 5.) Wen your right hand (coin still finger pelmed) take the visi~ ble left-hand coin and ‘cable is near che two already-tabled coins. Table the purse frame fear the three coins- Pause for a beat or two fo that everyone cen see the purse frame and the three coins. I's at this point chat you can ask a lacy at_your ‘right to ‘assist your” She may Fenain Seated, of you can have hef stand at your right according to performing eicunecances. Pick up the three ‘catled coins with your right hand, Secretly adding che finger-palmed coin to chen: Stack the coins on the cable, flash your empty the'colns, don't he audience see that there are four coins Fight hand; your hand "shades let. Remember - if you photocopy this magazine, you lessen its worth to YOU! WEGRWMEIEEGIN (Special AlL-Caré Issue}: Hippie Torrales - The Leaning Tower Of Fasteboards ‘Sh Racherbaumer - Fuddie Aces Ren Frost. = All Wrong! Sem Patton ~ A-Foidable ‘John Ws McClure ~ "General! and ~ Doug. Bd ty stark Sicher, Gilles Couture, plus. in the stack; supposedly there are three there Pick up the coins at you ask your helper to hole ‘them in one bend. brop the four corns Eko her ‘hand. and “close her hand around thee. TELL her cornold tight as you turn her fist fin gers dom. This isto make sure that she does ESt open her hand. prematurely Let both your hands be seen to be empty as your right hen. picks up the puree frame and pistes Fe back into Left chand: production post Eight ake the wand with your right hand, spin ity and tap the purse frame. “Zebie the wand Reich Inco the purse Erane with your right fin- gers and pantomime renoveng (producing) a coin. Hobie the”purse Erane with your ese Rand. Place the invisible coin into your left hand and pick up che wand with your right hand Spin the wand, tap your left fist. Open your Leet hand = the cosnl?) is gone. Look at your spectators, and say, "Now chat’s magic!” Tay your helper's fise with the wand. | AS you asi hey if she "felc” anything, your left hand cas~ usily picks up the purse frame. Ask her to open her hand and fo 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 frane for the Feal purse. Bring out’ your Rand with che purse in production position (on~ ly the top metal frane(s} show). When the fo coins have been counted, teil your, help. Sit dows and/or ask Zor applause for her, ete Being attention to the coins as your right hand picks ‘chem up and crops (or tosses) them into the purse frame (really a reel purse vow). Pick up the wand with your right hand, spin it, and tap the purse. Table the wand, chen slowly, Spen your left hand to show that the Leather part of che purse has magically appeered! Open Ehe purse (sf ie ien't already open), dump out, the four coins - to end. Afterthoughts: You can, of course, do the sane Fottine without spinning the wand; handle Lf normally. It Looks beter when done Geseribed in the text: Learn the routine 2 good ones Speai ang. =1300:David Regal The Divining Card Bis ts an example of the excellent meg- ie tha will be in THE MIRACLES. OF DAVID REGAL, hen I get around to writing it. What a very good effect it is! T believe the concept ie Al~ ex Elnsley's, but I've never seen an imprompty Versiow perforned this simply. Ie's direct and Striking. There's plenty of room for improvise Clon. Fer example; che aces have £0 be mapicel- ly produced, one at a time. You can use your Favorite "reveals — the ones you do best. Let me teach you the basics - thea you're on your own; you've have to fill in, round off, in vaye that fit your personality,” presestation ~ and attitude The basic effect is thet you place a face down card onto. the table; laces his (or her) hand onto 10 vine ing" card = or “aystery" card, if you prefer~ Thac's what I mean by “rounding if off" your- self; you may wane to call it your "prediction" card. A care is now freely selected, signed erose ite face, and lost into the deck. Now the four aces are’ sagicelly produced ~-— ‘one at a time. “Each ‘ace is placed onto the "divining," inystery,” OF "prediction" card that's under ghe epectator's hand. You never touch that card. fe patter, the "rationale," is chat the aces "ipower" the divining card, (Or, you might Sey ther you have to "work up" to finding bis 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 "aivining” ("pre~ Sfetion” or "mystery"! card is shown to be the Signed selection! The preparation can hardly be called chac: Get the AD to the top of the deck, and the two Black aces to the bottom. That's ail. To Perform: It's the AH that's placed be- peath the spectator's hand (spread the cards faces tovard you, find the AH, ané place it) - chat's the "divining" card. Be careful not to flash ie as you table ie. Obviously, either red ace can be used as the divining card; for ex- planation purposes, it's the AH ~ the AD Eop of the deck. F411 in your pacter ~ s the fect that the divining card Is being placed under bis hand before anyehing else 13 done, you won't touch that card again, ane 20 on. iow, let the spectator (either the one who is guarding the divining care, or another) se lect any card. Let him sign its face; turn avay as he does so. ‘This card is replaced into tne G appavently lost. What you have to do © the AD; the two ck aces have to rensin at bottom. Easy: Kick (owing) ‘cut the top half deck into your left hand." The signed selection ‘is placed onto the Yeftchand naif, drop che right-hand half one the left-hand half holding a momentary break Detween the halves. Double cut to the breae You're set "I won'e touch that divining card, but I have to find the four aces in order Co power HEL" Do any kind of false cut - a flourishy one is best ~"then doa double turnover to show the AD. You've "located" the first ace. Turn down 3 5) the double, take off the top single card (che HHgneg seléetion) and place jer the. eps e's hand onto che divining card. Ask him co ise his hand, or just the thumb side of the hand, so, that you con place the card. And say, Shue don't Let me couch the divining card!" Pad ter about having found that first ace. The AD remains on top of the deck proper Now produce the bottom black ace. David oes an imhend "pivoe out,” but any revelation SOEs See oe Se tke SEE ESTERS See then de’ che! alvecucoower rep to the Cable, oF Shatever. (See Agcerthoupnte.) "hod there's’ the Tecond ace. Place ity face dome onts the two E5690" ad esay lor his have. MBut Son'e' tee me catch thee alelting Casal 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 toueh that divining card!” The AD is sti top af the deck, Produce it magically. 1 own Lorayne Spin (REPUTATION-MAKERS) for this fone, Enough time has passed co that the fac that the AD shows twice is never noticed. Place it onto che four cards that are under nis hand (Position check — from top down: AD, black ace, black ace, signed selection, AN.) Table the deck proper and pick up the 5- card packet. Patter about the four aces "power ing" the divining card. As you peter, deal the four aces into a face-up cabled left-to-right row, like this: Deal the top cara (AD), chen deal the next top care (black sce), then deal the bottom card’ (AH), then deal the cop card (black ace). The bottom deal ig done when you are holding 2 3-card packet; it's easy. shat T do ts to simply spread the three cards (che top card co Left, the bottom card to right) with my left fingers as my right hand approaches. The botton-cavd "eake"” ie really easy. (Figs 1.) Just don't break the dealing rhythm, The aces Fall red, black, ‘red, black; David feels that SE locks better that way. I agree You axe lefe with one face-doun card in your hand = the "divining" card(?). Build ic Up. "Tals card hes been under your hand since the beginning. Let's see if it really did ‘ei- vine" your card." Turn it over slowly = to re~ veal the signed selection! Afcerthoughts: Work out che ace "reveals you gant fo Use; chat, of course, is part of the “happening.” The routine is imprompeu andeasy co do. The signing of the card is impor- Eane — unless you're using a borrowed deck. To produce the last ace (AD) 1°11 some times shuffle one card onto it. Thea, 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 4D. E secasionally use The Ultra Move the first time J "produce" the AD. If so, 1 "lose" the signed selection via the Bluff Pais replacement (ight hand picks up only one card after being stopped during a riffle down) or Tile. This places the selection to. second from top, di- Fectly beneath the AD — and ready for The Ulera Nove. For the second ace, you might want to use the drop-flipover to face-up position from an apparently cut deck. Your right ehumbtip holds a break above the bottom card (right hand holds Geck from above). "Kick" cut the top half nto your left hend as your right thunbeip raleases the "broken" card. Te falle to the table face up. Place the right-hand half onto the Left hand half, holding a momentary break; double cut to the’ break and you're ready to continue You might want to check page 234 of QUAR- TUM LEAPS “for a detailed description of the drop-flipover reveal. Piet Forton's ‘eaceh be- tween two Ralves” production (or any variation thereof) also fits well. (See The “Twinkling” Change in the March, 1985 iscue of Apocalypse:) And €0 on ‘The last cime I saw David perform che rou- tine, he didn't use che spectator's hand ~ he put a saltshaker (use an acheray, sugar packer, Enything) on che divining card. He asked che Spectator fo vaise (slightly) che saltshaker each time he placed an ace onto the already: dled cards. Ke use either presentation. I excellent magic! EDWARD MARLO HIGH-RISE ASSEMBLY Tele @ matrix effect - 3 caré-covered dice magically join a 4th covered die. bd tells me that 2 dice "elevated matrix" is claimed as in Gependent 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 cov ering carda, the other uses 4; one Uses Tenye's Squeeze Play while che other uses Schneider's Basic Vanish ~ co cause @ die to disappears one Version covers with sloping cards, one perches OF balances each card on top of aach cis E4 wanted all chis mentioned so that you could see the completely different approach in his (practically. non-sieight-of-hang) method. He orginally used 3/4-inch dice, but now uses S/scineh size ed it with’b-inch dice ~ all work just fine.) The main modus operandi fs a mounting item called Spot-0'-Clue, by Avery (style #6001). Ed Used chia in coin Fousine, Raised Assembly, in Apocalypse exactly a year ago (January, 1986, issue). These tabs enable you to deposit a dab of glue (rubber cenent) onto any surface. There Se S“pacture of then in the Jan,, 2986 issue (i ‘you can't find these, a fine flim of rubber ment ~ dry - isa fair eubscitute.] Assuming you're using the Avery Spot-0' Glue tabs, cut each in half, lengthwise, before applying to a die- You need 5 similar dice. (A norexcra-die sethod i¢ explained later.) apply The spot of glue onto che center of the 6-spot gurfece of 4 dice. No glue near che edges, fhe 5th die is untreated. The 4 covering cards need co be fairy sever (i had no problem with Tally Ho or Bicyéle cards). Tf you prefer, you can use heavy white plastic cut to size. Two ways co stare. In each case, one tre: ed die is in your let outside jacket pockets the remaining 4 dice are in your right jack pocket. For each method, your left hand secret fy adheres one die under a card; the when and how ‘ere different. The first method (Ed's preference because both hands are free): Your right hand holds the Geck; your left hand secretly obtains the exeat~ ed die fron your Left pocket. Your thunb can Gasily feel the sticky surface ao that you can Elnget pelo ‘the die sticky surface up before your lefe hand ‘comes out of the pocker. Your Eight hand, holding the deck from above, places the deck neo your lefc hand directly onto ene die. Your lett ingers press the die up against fhe potton card tovnake’sure it sticks: The die Should concer besveen the ends (lengthwise) of the card, bie be off center [toward che Lefc oF Inner Long side) considering the card's width Now, your left fingers elide out the botton 4 cards 'aad bring them up onto the Cop of the Sask = stepped. eo ine tals Cor, innet) side se that the clinging die ss hidden by that side of the deck. Take che deck from above with your Hight ‘hand and table it — vital aide coward you. TES "pretty — the die is just about ae high as the deck £4 ehick; nothing untoware te seen by your spectators. (Pig. 1, your view.) Pdvard Sent ne Polaroid pictures shot through a screen hich “enables them co be reproduced. It's the Hirst time tim © TT nope they reproduce clearly. "Your fee. (Tae 2nd method Sonsists of simply placing only four cards ones fhe finger-palned die. Your lest hand holde all as yout sighe hand senoves che four dice fron fhe “rigne’ jacket pocket.) Place the 4 visible dice onto your working surface in square formation; the untreated die at Lnner-right corner. As you place the 3 treat- e4 dice make sure that the one-spot is toward you on the outer-right & tnner-left corner dice The outer=left die faces any way so long as che created S-spot surface 1s noc downward. (Fig. 2 Shows the 4 Lefe-nend cards and the cabled dice Layoue.) 2filth your right hand, grasp the inner end bur == as the card moves onto the outer-right of the left-hand card packet and one-hand fan die, chat die is secretly turned (one cura £o~ whe d'cards, backs to audience, of course. (See tard you) with the eide of your right chumbtip, Fig: 2 nove the off-center position of thst, dex cover of the card, to bring ics treated clinging die.) fe"s all quite disarning. Scspoc surface upward. (Fig. 7 ie 4 stop-action, exposed view.) Ab you complete the covering ac tion, press down with your right ist fingertip This assures thae the die adheres, but looks on- ly as if you're balancing the card. (Fig. 8.) AC the sane time, your left hand replaces its card; it does not turn the ov die. Your left hand now goves toward you and lifte the card at inner-Left position to display that die. Replace che card — and do the secret tura, bringing surface upwsrd, end then’ the prass-down fain Figures 6,7 and 8 With your right hand, tip forward che our: er-left card as your left hand moves behind the cara & picks up the die. (This 1s a feint; the Sane actions are done lacer when you pretend to pick up the dle: Fig. 9 ~ audience view.) Close Jour Left hand around the die € move the hand fe hand maintains its grip on You won't see ic, but you may hear it arvive Let the die be seen as your left hand re- places i to position, sue with the treated 6- Spot surface upward. Your right hand places the As the enall fan is placed onto your right hand takes the gaffed card at inmer-right corner, between chusb- LS Tageels ARE SES eect ea, eras ae cea ee carctecec you, & hidden die toward you, ed as you end the patter line. Then, onto the inner-right die so that the hidden die but let's start with this die," as you indicate is y behind the tabled, untreated dic. the inner-left corner. Your’ right hand cilts ‘Try this & you'll see what a simple and natural forward that card (inner left) as your left setion ic is. Place one of the remsining three hand moves behind it, ae sn Figure 9. Pretend cards onto of the other 3 dice. (Pig. 5, to take the die; the actual situation is as in Let spectator press down on each cerd - fg. 10 do “it yourself =~ "co. iprove" chet. the dic The fact that you're holding che card at Tass iss subelety thet adds co the an extreme ‘corner, and that the card ss on te5 Use’ both hands simltaneously, an ng side, wakes the "pretend take" Look trues cuter-right and outer-left cards off it€an be’ a perfect iftusion. Hold the dle tA They're taken et their toner left/ your left hand for a monent, as sn Fig. 11} you F4ghe comers and moved toward you - to display re pretending to hold the die between chuabtip Ehe Evo dice. (Fig. 6; spectators’ view.) ane fst and 2nd fingertips. Then pretend to ree . . ease che die by Telaxing your -thunb, 20 ¢h two cards onto their dice, £*Fy1ts down onto your Left palm. (Fig: 12 = see ne eer ee 55note that the thumb is now avay from the other Eingertips.) Gently wave the right-hand cara over your left hand. From about 1? inches above the cable top pantomime “pouring the left-hand (inviei~ ble) 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 #8 your Left fingers squeeze the sides downeard. (Fig. 13.) Just before you Squeeze the sides, say, "You didn't see the die go but you'll hear ic arrive." Squeeze the Sides "'& there will be an audibie click as the Sse comes free of the card (Ba says, “Those who know the method {11 regard the Velick' as a sort of give-away; how ever, chose who do ‘not know if will wonder how you. made the sound-) Raise the card with your Tete “hand to reveal 2 dice. Toss the left-hand Garé, Fece up, onto the Cable at center of the Layout. ‘Retura co the 2 (inner-right) dice with, your left hand & give the just-arrived (treated) Gie one (quarter) turn to the left so that the treated bcspot surface faces left. Your left fingers move the 2 dice side by side, as your Fight hand places ics card onto them. Nake sure the hidden Elinging cie goes behind the 2 dice Cause the die at outer Left to repeating, exactly, the actions depicted in Fig ures 9, 40, 11 and 12/- to make that die "dis favel" by appear." Then, to make it arrive audibly und the card at inner right, do che actions of Fig ure 13. “Toss the teft-hand card face up near the ist face-up card. Turn the newly-arrived Gie onecurn to the right so that ite treated 6- Spo faces right. Place the right-hand card on= to the 3 dice, Loading the hidden clinging die Repeat exactly (ell actions from Figure 9 chrough 13) co make the outer-right die travel Agter the Figure-13 action and raising the card fo display four dice, your iefe hand tosses the Sex, "Zac up, onto the table co join che ocher 2. Turn the nevly-atrived die one turn toward you~ the treated surface faces you. (The rea- Zon 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 fin~ ger-paim position. (Fig. 14; the 3 tabled cards En this’ photo should be face up.) There's no pause here - your right hand picks up another Eabled car & places it, ctepped to the right, under the lefeshand card, (Figs 15.) The remaining 2 cards are also placed face down under the leét-hand cavas. Now, by simply Squaring the 4 cards the hidden die is automat~ iilly dislodged, falling inco finger palm. The Fight hand can oss che 4 cards onto the table Or onto the deck. Your right hand picks up the Gveabled dice & tosses them into your left hand, whieh pockets all five, End Nowextra-die method: If you'd rather use onty 4 dice, try this: 3 are treated, one isn't. Layout & card covering is as explained, untreat— eddie at inner right: Pretend fo. piek up inner left die as per Figures 9 through 12. Then, as you say, "Remember, there's only one die here," ght-hand card (wich clinging aie) co flip die at inner rignt. Cover thet die with right-hand card, loading clinging die. Pick up flipped-orf card’ with right hand & wave it over lefe hand. "Pour" die out of Left hand, thea grasp inner-right card as in Figure 13" eo idible arrival. Two dice ave dis played. reated 6-spot to the left. Cover two dice with right-hand card 15 Repeat pick up exactly with outer-lefr die. Again, right-hand care wich clinging die flips off inner-right card ~ "Renenber, 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 st inner right Torn treated O-spot surface co the right, and cover three dice with right-hand ce Repeat exaccly for 3rd (6 last) aie. show only S dice at inner right, as explained. Cover three dice with rigne-hind card, adding. che en Sie. End by ‘vanishing’ left-hand aie end show” Sng’ see arrival ae inner sight The exact procedure (both h coins. All you'd have to do Oi=cise on che head side ef each of B'ccins, ete. The holding of a card at the extrene corner with only the tip of ehunb & 1st Fingertip will corely puzzle magicians familiar with che Schneider Pick-Up Hovea Trappings of a Miracle J. K. Hartman Wilerry writes: "Tommy Ellison's A Case OF Black Jack (Apocalypse; December, 1979), an ap- proach to the Elmsiey, ‘Between The Pains! theme, Ras 2 strong effect that was the starting point of che following overhaul." Jerry's handling is, Sigferent enough to make ic 2 stand-alone item Assume that che four aces are in a cabled face-up packer following a preceding G-ace rou- tine; the black aces are between the red ones- Also, for teaching purposes, get the KS co the top of the deck and the 2H to second from cop The basic effecc is that two signed selections magically change places vhile each is trapped ‘The fixec action ie a display of the aces. During the display, one face-up ace 1s secretly Loaded to. beneath the face-up KS. Like this The face-doun deck is in your left hand. Your Tighe hand picks up the face-up ace” packer From above and uses it co lever over, Face up, the cop card of the deck, the KS. "This next Erick will use this card.’.che king of spades." Get a monentary left Little fingertip break be- neath the face-up KS. And as you say, "the aces play @ role, too..." do che following actions Your Left thumb peels the cop right-hand ip) ace onto the deck and also, epparent— the KS. Actually, as that first ace is petled, your right fingers steal the KS to be~ heath the right-hand packet in Biddle fashion; your right chumbtip maintains 2 separation be~ nthe KS_and the rest of the ace packet. than peels che 2nd ace simulcaneous. ly releasing ebe "broken" KS beneath Lf. Peal the ‘Sed ace, then the 4th ace. (Crucial for any count of chic kind is not to break the rhythm Of the count.) Conclude your remark - "...but we'll get to then ine goment." As you talk, your right thunbtip openly Lifts che Cop face“up block ~~ ie juste goes co the natural break ~— and allows the” two ‘lowermost cards to riffle off; i.e, Fed ace and KS. (Fig. 1.) Look at area as you do this. It's a perfectly natural- Tooking action, as if you are looking to sepa— the aces from the vest of che deck. Place renaining, squs consists of 204% three - face up onto the table. you like, get 2 break under the 2nd peeled’ ace Boring the peel/display; then you cen renove the top dace block instantly.) All locks natu- Fal because che face-up KS still shows on top Of the deck, as it should. There is, however, an ace hidden beneath _—S—$_ 85 Have a spectator (#1) initial or sign the face of the KS. Flip the double card face dow, remove the top single card, and table it to your right and slightly forward. Ask spectator Hi'to be its guard by placing finger on ie Do 8 double turnover to show (this example) the 2H. Let spectator #2 initial or sign it, and renember ip ‘the double card face sdown but, as you do, get a "Tilt" break beneath it. (Jerry always slants the outer end of the deck Eractionally upward co maintain the flety or parailel-to-fioor, plane of the cop of the Geck! when he prepares for Tilt.) Slide off the top card of the deck (supposedly che 2H) and apparently. insert it co center deck, actus SEilting"” ic’ co second from top. I have to sume thet Apocalytes, by now, know how to Tile card. (If not, check out Ascanio's Anbition For Two in the Yay, 1984 issue of Apocalypse — among others.) Squdve the deck, ultimately re taining a break under che top card. (Top card is ‘the 2u, which is apparently lost to center deck; ‘the kS “ts second from Sop.) Your right hand, from above, picks up che tabled face-up ace packer and sete it onto the deck; held sidejogged to ‘the “right with your Left’ chumb. As you say, "Now, Let's get to the aces," your right hand flips that sce packet Face down and flush on top of the deck. Without hesitation, your right hand moves the block s= hove the break to the right as your left thumb peels (actually holds stationary) the top card the block onto the deck. lnmediately flip that "egrd face up using the right-hand block: Peel off che (now) top card of the block and flip it face up the sane vay. You're displaying two black aces on top of the deck proper. Drop the two face-doun right-hand cards onto the ta ble, spreading then. (Fron top down, these tuo cards are a red ace, the 24) As you talk about leaving the black aces face up inthe deck do the standard fase dis play, sandwiching che top facedown card (KS) between then. I-e., spread three cards, square getting a monentary’ break under ell three. Nove the 3-eard block to your right with your right hané as your left thumb peels the top facewup ace onto the deck. Place the rensining right hand ‘card (two cards s¢ one) on Cop of the Let black ace. Complete cut the deck then table it face down. Scoop the top card of the two face-down cabled cards under the remaining card and flip them doth (basically squared ~ to "shade" the 2H)" ace up into your left head. A red ace is Seen. Hold the face-up double card at its inner Tight corner with your right fingers. Ask spec ator #1 to release his hold on his and scoop it (st is really @ red ace! up with the right-hand double card so chat it's outjog~ ged anvinch or so on the twa face-up cards. Flace this package, as {s, Snto your pala vp left hand. Ag you sy thet you want co cur~ round the KS with the two red aces - "just like bookends," do the following: Slide che visible (oper). red ace inverd with your right second singer as, at the same time, your left forefin~ ger pushes the face-doun ‘card don and flush Sith the bottom face-up card. (Fig. 2.) It's an Nin’ yeverse" Annenann Alignment Nove.the right-hand red ace and place it onto the two left-hand cards keeping a break under it. wonese ved aces have a strange influence over the Black aces.;."" As you tell in appear Snce, you simply table the three carée ins for~ ward’ (vertical) spread. Actually, execute the following very pretty “novel” (uhich se a Lay~ down reversal similar co assorted Maxie cleat bp actione used in, among other things, verious “Buink ace" routines). Avching your right hand above the packet, graap the top face-up (sepa Fated) red"ace- Yove both hands Coward’ che a the. right hand. (holding the ace) somewhar than’ che left hand. At the same time, "aig" your Left chub under che other two {face~ jovfact lower) catde and. push ups flipping then over. (Fig. 3 Se a stop-nction view at the ine Stant of thar flipovers) Similtanecusly, push the face-down card your left thumb 2 already on ity as in Figure W""torware with that thumb in otder to create 1 vertical spread of the three cards. (Fig. 4.) There s no pause here; deposit che three cards, is is, onto the table. This is a. pretty, and imperceptible, move. Tt need not” be rushed. A ace-down card is seen between the red aces; it S what your, spectators expect to see - the face-down card is presumably che KS- The larger yovenent of hands’ to table completely covers the smaller movenent of the 2-cara flipover. JONATHAN TOWNSEND It's amazing how many different ways the tan Ping Chien concept can de applied. This one sombines the Han Ping Chien with Slydini's Re~ yolve Vanish =~ and, it is an excellent idea. Jonathan Uses if within a coin-through-table routines “Ie canbe used one tine ~ oF two oF fhree times. I'll teach the basic move, then you can apply it-as you like. The concept is a simple one, but I think I sas a bit tired when Jonathan explained it co ne. “I'had to go over it five or six times be fore all the actions meshed, the concept clear } and it worked smoothly, The move itself is, Sot af all difficule to do, but it's based on ‘ining, of course, a¢ se any Han Ping Chien ap sIication and thar is not easy to teach ia geint. A few things do happen at once; i'll do he best I can. Assume you've just lapped the first coin = ‘or a coin-through-table routine. So the situs ion is:" There are three coins in your left land, but your. spectators believe that there ire four coins there; one coin is in your lap. Your left hand drops (slaps down onto the able and/or displays) three coins nearer, the voter eft area of your working surface. "One. ‘oin has penetrated.” Your left hand is empty, -e—————— 6 $$. Continue your last remark, "...i£ the red faces have @ card between them'—-- so will the Black ones!" Ase period (or exclamation point) fo the remark, ribbon spread the face-down deck Erom right Co left. Two face-up black aces with 4 face-down card becween them are seen at cen ter of the ribbon epread- Look at spectator #1 - "And, Sf the card between these red aces is your card (turn to spectator #2), the card between che black aces iss." Let gpectator #2 complete your sentence by Saying - "My card Carefully, apd openty slide rhe diecikcace sandwich out of ‘the spread and table it forward of the deck as you ask spectator #2 to repeat the name of his card {ithe two of hearte")= Ask spectator $1. to tenind everyone of the name of is cera Cheing of spades"). bund Le up = "Wow here's where the real negic comes in!" Do your magical gesture and slovly turn over the bLack= See sandeich side for side, then turn over the Fed-ace sandwich end for end — to display the Inpossibie transposition: explanation Afcerthoughts: Obviously, 2 reads Tonger that the effect is. Fill in your own presentation, personality, showmanship, and buildup, of course. REVOLVING HAN PING CHIEN of course. As you make your remark, your right hand retrieves the Lapped coin. "Let's try it with another cote. Your Left Mand 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 (oF Slightly before) your right hand is coming into Siew with the ipenstrated con on its pain. Ie Stops at "Kevolve-Vanish" position. That is, the left side of the hand reste at the table's edge. (Left and right hands really work togeth- ers Your right hand shocld be bringing sts coin, into view as you say, "One coin has penetrated. Your left hand picks up its coin as you contin= ue the remark.) Your Left fir 1s going to have to release ite coin for the Han Bing Chien Jonathan Lees [eveslt oat of the ticeiectinger opening of his fist. I prefer to bring it to'"heel clip! pos tion) and release from there. Use wnicnever ie betcer for you, (Fig. 1 is an exposed perform erie views Left-hand) coin is in heel flip and Sighe hand {s in Revolve-Vanith position ~" just before the "nove" happene.) MLL right; your attitude is thae you are going to dovthe magical "peneeration" wieh the Eeetthand coin. The right-hand coin has alteady made its magical trip, so you casually, payingscant attention to it, push it aside to, outer Fight érea of your working surface. That's all Le" should look like. Turn your right hand palm Gown as the beginning of che sliding-the-pene— trated-coin-out-of-che-way action. [t's really Tapped (Revolve Vanish) - Your right hand does not pause at all; sc continues (as if sliding its Coin) moving to- Ward oucer right. The actions are really just about simultaneous - the left-hand coin is drep- ped to beneath the right hand as the right nano Roves onto the tabletop immediately after (com ing cut of) the Revolve Vanish; this 1s the lan Pig’ Chien action. Your Fight uand keeps s1id~ ing the coin to cuter right. Te openly Leaves the coin there! Let the hand be sean to be enp- ty. Your attention is directed to your left hand, of course That's it! If you've done the move prop Your spectators must believe that there coin in your left hand. You're way ahead, of Course. Your left hand 1s already empty, and coin is on your lap! Your obviously empty éghe hand joes under the table; your lefe hand ite (non-existent) cain: Now ~ you can "get ahead" by repeating ex- actly.” Your right ‘hand apparently slides the penetrated coin forvard/rignt to joia the first penetrated coin, as your lefe hand picks up one EF the two. remaining ('non-penetrated") “Cotas f outer lefe and $0 one Afterthoughte: As I said, your "attitude" is important; work on it ~ the’ casual action of noving the penetrated coin out of che way. This is as fine an application of the Han Ping Chien if GARY QUELLET Te may appear to be Kind of obvious to you ac first, bul I've tried ie and it has gotten Sone good layman reaction. Have a card selected and remenbered. When it's returned £0 the deck, Control ie to the top. The revelation: Say something like - "I'I1 9 over a third, another third, and mix them Sone more; but now there's only this one face up card ~ all the others face one way!" The actions to match: The deck is in Left- hand dealing position. As your right hand ap- proaches the dack's inner right corner the lef Thumb injogs the top (selected) card. At about we same time, your right fingers greap che top ‘approxinate)’ third of the eck at the deck's inner ight corner (Fig. 1 - the injog se exag— gerated) ang flip that portion face up, curning Fight to lefc, Like the page of @ book. The se= ledted card renains injogged. As you say, “another chérd," do the same thing — except that this time flip over about, tuo-thirds of the deck; that is, curn over the face-up third plus another thifd - cwo-thirde altogether. (Fig. 2 shows this cut starting = Che injog is Sstlil exaggerated) The face-down selectéd card is still Enjogged ~ about a third Of the vay down. (Pigy 3 As you say, "...and mix them some gore," flip over up to and ‘including the injogged card. That Card = che injogged, selected card — ends ONE-CARD TRIUMPH REVELATION ‘up face up on top; all the other cards are face down. (You can "flush" the injogged card as che bateh flips over.) Toss the selected card face up onto the table and smartly table ribbon spread the face= Gown deck as you finish the patter Line. Do che three "flip-overs!™ Agterthoughes fairl} FERS} “and In beat. Le's an ineerest- ing revelation of @ selected card. (Yes; sf you injoggea the four aces and did exactly the came thing the aces would end up face up on top of Ellipses (...) MIM wsually take space in this issue to clear up 2 few details issue I ran Vis-Change. I've since learned © e it's used to cause a sandwiched card to But Knot For Me. Seens chat, again, (Teo minds, etc.) ed used it with ‘24 Marlo. published the Eace=down deck.) # Like...in the August, 1986 hat the basic move is in Ed Marlo's Magazine #1, Gisappear. In that same iseue, 1 tan Keel Norman's 3 1g method in New Phoenix, ydini silk routine. Dack in 1307+SSS In the ELlipses(...) o£ the Septenber, 1986 Apocalypse, "5 book, Formula One Close-Up, said it contained excellent magic but also wrote, in part, ",..if you placed ‘Latest K-M. Nove! alongside my Illogical Double (Quantum Ledes), “you'a find sta Phere co tell ‘em apart." Well I was wrong - they are different. Randy has sent me en updated Gersion of @ spectator-cute-the-aces routine. (I diva slight "put down of the one in his book “ithough it's 2 good routine, and all the other scuff in the book is excellent. I've since seen Rim dovall the effects, so i can state that emphatically. Pick up s copy.) The version he sent he is a gem. it'll run in Apocalypse as scon asf can sjmee it in. Yes, I know - Robert Klein (the comic) mentioned ay name on all the major talk shows, and uses ay wame during his HBO TV special. Thanks for writiag to cell me about it. In the March, 1986 issue of Apocalypse, I ran Paul Cummins! excellent routine, Overtusst vinor. one of my suggestions for controlling the force card (instead of the suggested sidesteal) {e"to use a double cue, Ivmust have been drunk, because ~ in the paragraph Just above, I'd ex- plained about placing the four queens on top and that the viewers must realize that they renain Bn top. the double-cut control vould appear co lose the queens - which is why Paul uses a side~ Steals Another control that would fit 1 @ "Blue" shift/pass Co beneath the four queens Heard the IBM convention (in California, last summer) was very good. But, also heard sone stories about registered people being turned avay --- there vas no room for then! Hundreds of people, many from far away, and stranded. Seems the IBM let a travel agency handle it all, and Phey say cha agency caused the problem. Anyway, chats how T heard the story - not good The Classic Magic Of Larry Jennings is "must get." 3 of the (many) items are in Apocalypse....the ‘peck's in BEST OF FRIENDS, #1. no idea where "Vernonikrenzel Mechanical Reverse" comes {rom ~ it's Ken's From my book (never mentioned) -..top-eard cover pass is filler - nowhere as good as the description/method ‘in BOF, fa,the welting ian’ very good (illustrations fine)-..but Larry's magic makes it e ‘must get.” Iive received a few letters, calls, and personal comments from Apocalypse readers berating themselves, quite upset, because they purchased an item called "Scunning™ fron a magic dealer For $10.00" ang then vealized chat it had already appeared on the cover of the January, 1986 Apocalypse (Zor $4.00; lese, if you're @ subscriber), pius 7 or 8 other effects and routines by people iike Jennings, Marlo, Hartman. Not only that...1 warned them about this in a special box Eh page 1209 of the Hay, 1986 ieeve- You gotta’ read what I write, damnit! Saw 2 Ted Lesley (Berlin, &. Germany) icens. They're good.Merked deck, with m/s "Marked." (Deck's deen tipped Off by some dealers in the U-S.A. I'm told one also copied the m/s and is selling ie!) Mattin Breese of London, England owas 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 ud in a signed playing card ~ really. Cones complete. 1 don't have prices; you'd have to fees and write to above for information. "ING" Here's the missing "ing" for the Iast page (1284) of the November, 1986 issue. If you didn’t ‘miss it~ you don’t need it. Davia Coppertield's next television special eirs in March. David cold me chat the Alcatraz prison escape sequence ~ on the lest segnent of the show = paites Use of some new magical pri Eiples. (No T-aidn'e, and wouldn't, ask Aim vay he doesn'c mention any of ay magic books at the end of @ show. (when he mentions aagic docks}. Instead of writing and asking me why don't fou, oruss and GET WaalP sr Gonte enlay eave. seth pooks on aenory training to the publiey Books on magic.) Bumped into writer Herb Sergeant..he reminded me of a fonny line he wrote about me in New York Magazine Some years age. He weote: Harry Lorayne takes over GM ~ Recalls 390,000 cars. I love it. A magazine writer is making grandiose statenents about no magazine giving un- knowns a chance, that maybe Lf they vere givens chance they'd becone known (sound familiar?) — 2nd, that he will magnaniaousiy do it. Well, it's mice co read about ic. I've deen doing fuse that here in Apocalypse for over nine years, and writing about it---full edicorial, ete. And he Knows it. what maker it really funny is chat the guy spouting this “innovative” concept is one Of the unknowns I made known by running his itens here. What the heck.--keep copying me, guys = you'll get It right sooner or acer! Other than che facts that a couple of one act's illusions didn’t ork quite right, & that one close-up perforner rudely interrupted (and "chren!) another performer, locking for a lost prop, & thet all the shows (& close up) were too long ("less ig more") =~ Tannens Jubilee ran Sith’ sts ueual enocthnese- Air Jazz (Ehree young jugglers) by far the outstand:ag act. Steve Duscheck still, draws gest crowds in the dealers’ room-..-Al Cohen, Philadelphia Magic, Hank Lee - don't do too badly, either ° as we Em WIRY is published every month by Horry Lorayne, ati 62 Jane St., New York, N.Y. 10014 All checks are to be made payable to Harry Lorayne, and mailed to him at that address, Individual issues - $4.00 each Overseas subscription - $46.50 surface mail ‘Subscription ~ $10.00 per year (SA. doltars only) ~ $54.50 aie mail AIL back issues ~ $100 each, plus pete. $57.50 airmail to Australie, Japan, So. Africa, etc Canada & Mexico ~ $65.50 surface mail. 1308 Be LLDPE“Harry Lorayne’s VOL. 10 NO. 2 pocalypse © COPYRIGHT 4 yen FEB., 1987 Special All-Card Issue Bee ie to ou The renee erode Smee * Gate ed You'll 52 of cartes | and 4 Sb ene chp OG are eye enim TABSS eo peer cto teave most Hippie Torrales The Leaning Tower of Pasteboards 1309 msAs you talk, "kick" (swing) cut the deck wo or three times. You'll find that you can do Ric with che thumbeip i place ~ particularly E the inner end of the deck "nits" the inside '£ your right thumb above the thusbtip’s edge See Fig. 2+) 1 @Y 5s 3 men ready to do the "balancing," reach ander the deck, at its rear end, with che right ham. Leave ‘the thusbeip on your left palm inder the deck, at the area where your fingers teet your palm. The outer end of the deck should Se lying along your left forefinger. Obviously, Jou'll Shave “ta experiment just a bit for the Sact position; the position chat ts best for your hand. Then ~ remove your right hand. (See ie: 2, which is an exposed view ~ locking at the’ deck’ sideways, from diagonal ianer/right.) four Fingers should be close together as this 2 done. [have to leave it to you here; the angles they're preety good), just how much you want o turn your hand, and so on. Viewed properly, € sure does Look as if the rear part of the Jeck is “levicacing.” Do scress that all your Hngers_ are. visible. Again, up to you whether you want ‘to simply indicate that, oF verbalize t. “knd, arching your hand raises che deck's "nner end’even move. (Fig. 3 ie another view.) then you've made your point, say ~ "And, £ ake “away just one ands." This ts the Inouse for removing, getting rid of, the thumb- Hip. As you talk, take aay the cop’ card of the Jeck with your right hand. The right thumb (al- tost automatically) goes into the You zenove the top cara (Fig. 4) it effectively thades the thunbelp. Drop the card onto the ta ble, then move yor right hand (chumbcip still gn your right. thumb) back to. the deck.” " tan doit even better.” (Taking away one Can takes “the. deck lighter," or it changes its selence'’ "whatever patter you Like, oF no pat= You can "ditch" the thuabrip now, oF con- Hine with st. Ageim, I have to leave that co vou. The sinplest vay is to put the one card eo your ‘pocket, ‘Leaving ehe thumbcip, too. hat you have to be able to do here Pond te jay be easy for you wight avay, or difficule at Shee) "To "Send in only "your left 1stcle Inger. Your iret, second’ and ehird fingers ize straight. Ie should lock az in Fig. 5. the Zac happen is that you'll have to for a short tine = practice. You'll Ef Bloce tm che figure that the stzaigheer Eieets second and ‘third fingers ave © and 0 the more arched (and together) they are - the better the illusion will be.) So, to actually ‘do! the levitation: Hold the deck fron above with your right hand as you get set. for the impromptu repeat. Simply bend four left lictle finger co beneath the deck end feraighten your lefe. first, second and third Hingets (as in Figure 5) end as you renove your Tight hand. The deck is positioned as before ~ Suter end lying parallel te, along, your left forefinger, ete. The inner end, however, rests on your bent littie finger. Te'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 Aigher chan your Second and thire fingers ~ that covers the fact that your licele finger isn't there! (Fig. 6) \e view is from the right inner side ~~ from below.) And as you diaplay chis grevity-detying feat’ with your left hand, you have plenty o Eine to "Nditeh" the ‘thuabeip with your right hand, if you haven't already ditched it. Here comes the touch thet “nakes" chis Wich your sight hand, ‘cake the deck's top card. Torn Ye Eacevup and slide ie under che deck, ac the decks inner end. TE accusily slides be tween ‘che deck and your Dent Iieele Finger- As the Gard: elides in, eurn your body sligntly to the Hight and atraigheen Your Left ieee Fine ger. ithe “alight turn co the, right shades the Straigncening cf ‘that Little finger. As You co Straighten fe = Seva 4 fraction of a. second — torn Back all che way ‘to. the left so" that your Spectators can gee the levitated deck. ‘The right Eggers, put a “buckle” in the. singie caxd to make it Strong enough co hold. up the deck at TES" tqner ends AIL your tcngers axe seen (See Fig. Jr) This {2 beautiful; move the card Lefe/ rife as you sey, "As you can see, there are 10 strings atceched!! Talking ts you show she levitated deck with you were tilene, you would Bive your spectator coo mich ehinking Cine™ Ane fou ean (ang should) move that single card left aad Fights Move it back and forth rapidly, only, Evlce er three tines. Te's chat rapidness" and the Singie gace'e buckle thet enables chat card io" dove left/right eleanly. In effect, you're fost tngteating he levicaving deck. Now -- to clean up, reverse all actions, bending your little finger back to beneath the deck's toner end. (That ts, curn your body, and Jour hands, back to your right as your LittleEinger curls in.) The point is a simple one - your little finger straightens you've got to cover the movement — the straight- . Ening std recbending ~ of your left litele fin ‘Thig short spin con be made to Look eerie. Ber: ‘The deck's inner end will move to the right; as se does, "eat we deck (elasp with your lef thumb) and tase it. Keep your hand there, in full view ~ you're clean! 8 Agverchoughts: Well; that's che best I can do with this Kind of thing. You'll have to play wich it, of course. You nay want to place the Geck onto your left hand normally and display afron Sil angles = just co lee your spectators gee how it should Look - before you go into the Sbalancsng" feat- (This would also subliminally Okey; display the “leaning” o “Levitar- set the tees of all your Left fingers being i ing" deck, then say, - "Wateh!" = and cause the view.) This is important if you don't have your deck t0 slowly and ‘eerily spin, counter-clock- Ehumbeip with you and want ‘co do Just the ine Wise (the deck's inner end moves toward your prompt’ versioa. Hippie also does a separace Fingertips) about 2 hal? turn, by slowly open= Quickie with che cased deck. He causes it to ing your lefe iitele finger. (Pig. 8 shows ehis spin completely around on his Left palm —~ by happening.) Tats, too, may take a few cries. Ubing the secret opening of the little finger, You may have ‘to cut the fingernail of your Left 45 explained ~ and continuing the spin by bend~ Te’ finger, because the skin should contact ing in just his forefinger! Ie really can't be the bottom card of the deck. and, ‘tilting yo explained; you'll simply have to try it. Do be hand (inward or outward) will help. Your oth eure to txy the "main" levitation ides caught fe fingers move upward to meet the deck as in the text 1 Jon Racherbaumer Fuddle Aces Wilec's starting point for chic routine is ‘onto the firet 3 aces. Square the packet Justin Higham's Som-Ace-Sault (Apocalypse; De~ Gender, 1964). Justin took his cues from David 4) Flip the packet face down and do an Britlane's Jackrobets (Deckade), and Britian nsley Count co display 4 backs. Inmedsately was inspired by Chesbro-West's Acrobatic Cards 2’ co show 4 cards ~ siaply spread off the (Peeks You Can Coune On) Cop 3; the last 3 are held es one. Because the card in order to display a 4-card spread during Block’ is at the bottom, no extra thicknesses the second part of his routine. Jon felt that show. Hold the 4(?)-eafd spread in your left Eurcher use Could be made of that Seh card. His hand’ as your palm-down right hand grasps the follow-up sequence is" "---excised from @ Peter Cop 2 cards ~ thumb underneath, Fingers on top. Duffie routine which, in this merger of ideas and moves, 13 probably not recognizable. fact, the Combination should provide enough fusion te muddle che minds of most magicians — the audience I had in mind when concocting ehis appearance now (and in actuality), She 2" eet-hand Eace-down ace jeen 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 Nandled two by two. Finally, the face-down red aces are cur inco the deck- The black aces instantly Change to the ved aces. ‘The face-up dlack aces are found in the face-down deck with a face own care between then. That facedown card is the selected To Perform: 1) The aces are on the in a face-up packet - the reds on top o! blacks. Have a card selected (assume KH) and concrol it to the top of the deck. 2) The deck is held in left-hand dealing position. "Fick up the ace packet and place it Eace 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 S-card block, from 5) Turn your right hand palm up and nove above, with your right hand ae your left hand the 2 cards so that the cop black ace 1s step- tables the d ‘oper. ‘Say, "Notice that che ped to the right in the 2-card face-up spread aces are all facing the same way," as you re~ This facilitates the insertion of the face-down verse count then into your left hand by peeling left-hand cards (apparently 2 face-dovn aces off the first 3 aces, one at a time, with your detween the 2 right-hand cards. Insert them in fefe thumb. ‘The Leet (3 Gerds)'ss dropped outjogged condition. (Fig. 2-) Note chat your 811Left forefinger remains curled at the top end wiches of the (now) face-down packet. (Fig. 3.) of Les pair, covering the extra thickness of Square, "rescapturing" your break beneath the the block. Stress the fact that 2 aces are face three top cards down and 3 are Face up. 16) Do @ triple turnover (to the break ~ 6) With your right hand, push the outjog- the only “reason for the break) fo show a Ted ged cards flush, and “square the’ packers > ™ ace. (De this without hesitation.) Life off the ESp\ face-up red ace and sap ic co prove its 7) Do not do chrough-the-£ in order to secretly turn ever the packet. Tne appears normal. Replace it, face up, to the Cop apparent Situation is chat? aces are face up of the packet. ane 2 are face down, 1£ the packet ss openly © flourish Singleness- Since a back shows beneath it, all Gurned “over, the situation is unchangese Any 17) Immediately turn it face down, really Thinking obgerver will understand this: Don't doing a S-card turnover. No problen; just back” make a Ynove" at this point; simply and openly Le the bottom card end turn over the Block a Figp over the packee dove se. again, 2 back cones smto view, keeping everything locking normal” 8) Do a single-buckle spread (bottom-card ane = buckie) ““i"e., ‘with your Lefe chusb parcisily 18) Now, your right hand cakes the 2 cop spread off the top card, the 2nd card then cards as one. Easy; the top 2 cards axe face co buckle the bottom card so that a Slock can be face ~ go to the natural break beneath the 2nd Epreud off az) the Sea eqrd. Shap che tasticard card. Hace” thie "cazels) onto. the, facedown, © prave its "singleness” (you ean flash ity ie Sled, deck proper: Stress that you're placing is @ black ace), ‘then place sc to the Cop. Now aed ace face down onco the deck. (That's elt square the cards. This is quite magical looking fe"should Look Like: ) In appearance, 2 face-up tarde neve magically turned face down. The actions are economical and direct. (A block push-off serves the same Purpose as the botton-card buckle.) 3 5) Re-spread the 4(7) cards ~ the last 3 are held as one. And ~ repeat che curnover of the top 2 aces exactly ae in step 4 and 5 Except that, now, @ red ace will be stepped to the right cf ‘the’ 2-cara right-hand fan. insere the 2 Left-hand facedown cards to between the 2 right-hand face-up aces, just asin step 5 Do step 6; then do erepe 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 14) Peel che nexe (black) ace, but keep a (fine) Left Little fingertip break beneash it~ 21) Instruct your spectator co give the Finally, place the last (ved) ace (really two cabled deck one complete cus to bury the 2 red cards) én top of all. Position check: After the es. You're set for the surprise ending. Say, peel /display just described, the order from top the red aces are face down in the center of (face) down’ Pacesup redvace, facendoun selec™ che face-down deck. I'm geil holding the two tion, face-up black ace, face-up red sce, face= Black aces." down’ indifferent card, face-up black ace. And, you're holding break becueen the two 3-card 22) Snap (magical gesture) the 2 inchand Neandwiches."" ‘apparently, black) aces. Flip them face up co aieplay the two ved aces, Innecsacely risbon 15) Turn the packet face down co che right spread the facendovn deck to reveal the face-up Like the page of 2° book, maintaining. the break. vlack aces az center, with a face-down card bee This creates a step between the 2 cord sand- tween them. Let ehis vegister for a beat or f0o ssand then — show thet the sandviched card is the Selection (KH, this example]. End! Afterthoughts: As usual, @ routine such as this Foads mock more complicated than it really ‘after 3 or 4 run-ehroughs, 1t will flow. Other cardnen will have trouble backtracking it, Ang, when I tried ie out on some of my cardnen 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 You can, if you like, do the routine util- izing 2 selected cards. Control them both co the top. AE the end, when you reves! che "sand- wien" ac center ribbon spread, che 2nd selec— Eion is the card immediately’ to the right of (airectly above) the sandwich. You should have no trouble taking advantage of this situation. Reveal the 2nd selection im 2 "repeat" sandwich for in sone other remarkable manner! It's there; beilize te. According to Jon - “The whole point of the exercise 12 fo more. fully exploit that sixth ard. Perhaps it will further, stimulate Apoca~ Tytes to go “further than that": ..7! RON FROST ALL WRONG! It's often the seemingly obvious, simple ig that elicits the strong audience reaction and response. Ron performed this effect for Glose-up groups at 2 small convention; the mem bere of ‘all three audiences were "taken in. And 2 full-deck set-up is required. Ron told me that he uoually does a deck switch when T Saw hin do it he didn't bother, he simply took the cased deck out of his pocket. The effect still Fooled alle chs Scart with a new-deck set-up - each suit ace to king, ace on top. Assume you've set the Reruns” in CHsD order (1 really doesn't matter) The AG is the top card and the KD se the bottom card. Ribbon spread the deck face up and move each’ 7-spot into an off-color run. [t dosen't, matter which goes where, as long as each one is Nout of syne." Example’ --~ simply exchange the positions of the 70 and 7H, and sviteh the po Sieions of the 78 and 7D. Each seven is in cor~ Yect numerical sequence (between 2 six and an Gight) bse in the wrong run. That's all. Tf you can switch in this deck, and if you can do a few false cuts (and/or false shuffles, TE" you Like), you'te all set. Ron uses Nie oun falee-cut sequence To Perform: You've either switched in the deck, or simply brought it "into play." Take fe our of ics case, if St was inva case in the Let place. Do a fer false cuts. As I tald you, Ron Goes his own sequence of cuts; he doesn't make a big deal cue of the spectators simply assume the cards ere mixed The next step is to force a 7-spots any 7~ spot. “Ron simply tiffles up at che inner end ES spot one, gets his break beneath, or above, se sland forces it. It's easy enough to spor a Tespot, because you know about where they are- There's one at 20th and one at 33rd from Cop. Fig. 1 is your view as you find a seven.) Ron Classic Forces it; use any foree you like. If it's renoved from’ the deck, as in the Classic Force, be sure to have st replaced to original position, ‘Square the deck. Another fev false Euts, ecc., fs optional here The patter, the buildup, is ~ "I'm going zo cut ‘this deck inco four packets. what I'll try to do is to get a card that matches the val- ue of your card to the bottom of each. In othe: is if your card is a...ten, I'll cut a ten £o the botcom of each packet. Tf your card is a Eheee, I'll cue a three to che bottom of each pecket. But, don't cell me your card." Ron gets _—————_— 3 co talking fast, and excitedly, as he reaches the end of this patter - as if he can't wait co Stare the cueing ALL right; cut the deck inco four packers, a king at the bottom of each, as fast as you Gan. Zasy, of course, There's @ king already at bottom, anda king at bottom of each run ~ 13th 26th, 39th from top. Riffle to them with your right fhumbtip just as you id to locate a 7 spot NN 2 What I like co do as I talk is to riffie and spot the center (26ch-fron-top) king and hold a Lefe little fingertip break beneath ic This makes the cutting faster, because — 1 rif- fle to center of the card: above he break, the top half, and stop at the king that's 13th from top. (Fig. 2 45 your view, exaggerated, of this flecting™ instant.) Cot the top chirteen cards to the table. Wo hesitation now - just cut the next packet to the break. Rifle near center of maining half deck to the center king and packet to the teble. Finally, take the 9g packet with your right hand and drop that to the table completing the left-to-right row of four packets Te can be done quickly, 2s you'll see when you try it. ‘Okay, okay; I think I've done Lt..-1ook!" Rapidly turn the four squared packers face up, keeping them ina row, te expose the four kings. Tha, "in itself, is a fooler. "Your card was a King) you state emphatically: hat, of course, is denied. act crescfall- is your card? A seven? Oh; these are ed for." Do a agical gesture over the packets. Then ribbon Spread each one (downward). to expose the "dows ble miracle." Bech spread is the ece to king of one suit ~ except for the sevens (selected val~ Ue); they're obviously "out of sync" in each spread! Point out the tw miracles ~ and end Afcerthoughts: Ron ends as described. I, personally; Tike to turn the packets face down again, then do che magical gesture as if I an going’ to change the face kings co sevens. ThenI cura chen face up again - they're still Kings, got the. kings. No problem; simply set the cards cil” all wrong. Anocher gesture, then ribbe From king to ace inetead of ace to king. And, Spread each packet, ete. If you're working for explained 1¢ using sevens; that's because 1 sav a larger group, you may want to pick upeach Ron do it that way. Sixes or eights or any packee and hand to hand spread the cards faces, cards - work as well fo audience Whichever way you go, this can be a talked Ron, incidentally, cuts to the four aces, about effect! — JIM PATTON A-FOLDABLE Tim does a very strong routine using @m ‘Openly and deliberately cut the deck; thet antique silver ‘navohbook holder. A signed se= is, cove the top hal? deck to deneach che bot~ Glceion Appears ineide, folded in quatters. 7 ton half, openly bringing the "stopped-at" card had never geen one of these macehbook holders to" the. dotcom. ow, You're going co turn the before; chey're not readily available. For that deck face up in order fo show that botton card, Peason, I'm not going co teach nis bur’ you have to cover the center crease across Eeot; i don't wane nasty letters from all these its width. So, grasp the deck's inner end with ho San't find one of the holders!” But “Jim your ‘right hands thunbexp underneath and fin has his ‘ovn method of folding the signed card gers. on’ top. (Fig. 2) Move chat inner end up into guartere. it's excellent (alchough 1° may be difficule to teach in print); and should be Fecorded. Jim Likes all card fold methods, but fen away from you ~ your right hand ts moving pain-up position,” At ene sane tine, your Tete hand curne pala coverd you so chat Your uses his oun thie one. It's designed to be Lefe thumb can grasp the deck across its center Gone under closest scrutiny, and he fools other which autoratically covers the crease. (Fig. 3 magicians with it. (Done well, no misdirection ‘a stop-action performer's view just as your i3"neeaea. ) Tefe hand te about’ fo grasp the deci.) What makes ic so instant a fold is that the card is folded (and creased, then opened! {nvhalf before the effect begins. This ides has been used before, but Jim's handling is entire ly different. So, fold the card you intend to force in half across ics width. Open {t, and fold it the other way along the center crdase This makes it much easier to fold at che cru- cial moment during performance. Open the card. Tt has to be secretly loaded to the bostom of the deck when you're ready to do your (folded) card to small purse, matchbox ~ whatever, 5 Your Left hand grasps the deck as te turns all_che way pale up co display che card ~ and fo 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 mov= Ing that outer end towerd you and down. (This brings you, momentarily, back to Figure-2 po sition.) You're ready to fold the bottom (selected and signed) card into quarters. Pull down the {nner end of that card with your left iicele Eingertip (ipinky" pull down). If your Little finger is more covard che card's inner end than atits side, it makes the next step easier. AC least it does for me. (Fig. 5.) You'll see uhat if best for you when you try ic. As that inner fend moves down and your left hand pushes slight ly upward at its end, che card will sutomaei— cally slide toward you, co the deck's inner end ae ic folds in half. The folded conter of the a/ Okay chen; let's assume you've loaded the Card is tovard you - it butts against the fleshy pre-creased (matching) card to che bettor of pad of your right chuabrsp. (Fig. 6 1s a stop- Ehe deck. Cut the deck and hold a left little Setion exposed side view.) Eingertip break between the halves. Now riffle forge to the break. (8iffle down at the outer Push down at center of the folded card's left corner with your left thumb as you ask the inner end with your right chumbeip (which is Spestater to stop you. when he does, your right Fight there, at, position! co. form a downward hand lifts all catds above the. Drésk.) Do not Bee eeree Sea Pie a arcer the chime's My the “bottom ‘card ‘of the ‘right-hand (cop) Roush down!” — that chunb hes been moved out of half deck yet. Instead, indicate 4¢ with your che wey so that you can see whet's happened.) Left, Seccnd finger ae you say, "You stopped ne ae this card." (ig. 13 Now you want co fold the folded-inchalf —_——_——— 8card into quarters. Jim does 42 during 4 "kick" (Suing) cut! You could “burn!” Ais hands es he Goss st and you would see nothing. Your right forefinger starts ‘che cur by "kicking" the Lop elf deci co tne lest. As that cop half movess your Tete ‘fingers curl ‘in, folding the hidden Gerd into quarters. (Fig. 8. T've atvenpted a Stop-action exposed front view here.) Your left Fingers. acratgheen ~ then your right hand moves the boteon half deck ‘co the right. (See Fig. 9 mhich is your view, stop accion Note chat the left fingers are visible where they should be Visible. If che right hand moves its half pre~ haturely, chose left fingers will seem to have Gisappeaved! The foldec-in-quertere card is, of course, completely hidden between che left-hand half deck and the Left pal.) Drop che right-hand half onto the left-hand half ~ and che move Ls done. The folded card is hidden beneath the deck -- pressed up against the deck with your left palm -- as your right hand moves auay. Try it, vork with it; it's an excellent method for instancly folding the card. That's it. Steal the folded caré into yo lefe or right hand, according to ene "Loading" procedure you nave ‘ia mind. You can simply re- Rove the deck with your right hand leaving the folded card in left-hand finger palm. Ors you can use a eide-steal action to push the folded card into right-hand finger palm. Afcerthoughte: As mentioned, Jim uses this to produte the signed soled selection from the pretty antique matchbook holder. Tt hangs on a Chain attached to his vest, snd <¢ appears as if be fever goes anywhere near it~ He has both @ sit-down and a stand-up version. As I told you, I'm not teaching chat, but you sure can ise’ his folding-into-quarters method for other production JOHN W. McCLURE Willoha cane up vith che concept of doing @ vertigal Elnsley. Count; that isy holding tbe Faces of che cards directly toward the audience a5 you count. You can practice by holding the cards faces to a airvor. He also counes 4 cares a5 3. Using the tvo ideas together enables hin Eo presents "general card” effect quite con Vindingly. Te's'e routine that should be done ‘a uproup ~ you don'e want spectators to see gach others! cords. I'11 teach John's Elasiey Goune ‘varsecion (he calls de the Mirror Count) se the proper tine To Perform: Three spectators - one at your left, one at center, one at your right - each select and renenber a card, The cards are re— Euraed coche deck, the deck ic shuffled appar- ently Losing the cards. You really control them (to top or bottor), of course. Let's assune the selected cards are, from left to right, the All, 2H," TH. “Place ‘the deck Sehind your backs and that you weualty can find the cards by feel. Bring cut the three selected cards plus one in- different card - say, the 4c. The order, from fop down: 4c, 3K, AK,” 2H. You can control the Selections {a chat order, or set them that way. behind your back. Up to! you te the fa down de Proper. John's Mérror Count i used to show three cards to each spectator, one at a time. It also, in this routine, aluays "sets" you for the next step. Now, when'I do the Finsley, I take" ny Left hand from ey right. That's how I will Ceach the routine; if you do it the other way, you'll have to change sy instructions co #i¢. Face spectator #3 and ask him co see if card is among the three you are molding Raise the packet face directly toward him. Do “GENERAL“LY SPEAKING the Elasley Count, fanning the cards as you do3 you'il be showing bin three cards. This count LD ’done quizes ew tines during the routine, so I'll eeach it carefully now. tour Left. thumb peels off the vear card [4C)” Do the next ote} SE an insiey Count (your right thunbeip bled Pushes off tuo cards - this double card ts Cak- en with your Left hand ae the AC goes back to Beneath he single Tight-hand card). Your Li Ehusb cakes che third card onto che Left-hand double card — in stepped-to-the-righe condition. The last card’ goes onto the lefé-hand cards, iso stepped to che right. You see three backs? but your spectator sees the Ali, 24, 40 ~ the All Is closest to him; the 4C 1s closest to your Ic's a bit strange; he sees che 4c twice Guring the count, but it doosn't matter -~ it Looks quite legitimate, as if you're stressing that card, He does net’ see his card - the 3H = of course. Try this in front of a mirror. It's good, and once you're famiisar wich it, T can Feach che routine much faster. (Fig. 1 12 spec tator #3's view after the first count/display.) He says he doesn't see his card; sgusre che chree(?) cards and mave to spectator #2 (at center). Repeat exactly. He'll see the 3H, AK, 40 (Eace to rear); he doesn't see his card, the 1315)2H, Square, and move to spectator #1. Repeat the coust/display. He sees the 2H, 3H, 4C — no AH. Do not equave. Act puzzled over the fact Chat not even one of the spectators has seen his card. ‘Ae you say to spectator #2, "are you Sure this isn't your cera?” stress and show the 2H only to him (you don't want spectator #2 to see it}. Do it Like chis t Grasp che saall fan with your right hand as your left fingers grasp the 2H (double card at left end of fen) ct tts outer left corner Zurn it over toward you, end For end —— ie now Eaces you; place it onto the #80 back-to-you cards. (Fig. 2 ~ your view, stop action.) Now Square, and push off the 2H (remember; ie is di~ Hectly facing you), Cake st with the right hand and turn it) Coward the spectetor as you make your ‘remark- (Pig- 3.) Replace it face outward Sneo the face-to-you All. What you've acconpls sh ed is to secrecly reverse the A to své-trom face position. Check: From resr to spectator, the cards are -- 2H, reversed AH, 4C, 3H. He ays that it Ls not Ais card. As you say, "Please look again," do the rror Count ‘once more- He sees the 4C, 3H, 2H (4G at Face) ~~ you see two backs and’ the Al. Square, the fan. “Well; I'll have to use some hagic.” Turn over the packet, end for end, s0 Chat a back faces, him, ‘the 4¢ faces you. boa Mirror Counc; you're showing him three backs = you see the 4C, 24, 2 back. Square, and say, "Please concentrate ‘on your card." Do’ your mag: cal twist. Then, do angther back-to-him Mirror Count. And, he'll see his card - it's also been magically feversed, fecing him! You see the 4c, 3He ON. The 2a is a double card; the tovard-hia AN’ (other side of double) is at your left of the small fan. (You might prefer to have bin name his card before doing che count.) Grasp the double card at its outer le! corner, just ae you did before, and turn it o- ver end For end, also as before. Do this, os~ Eensibly to get’a better look ai his card! Use the two right-hand cards co shade the left-hand card so that spectator #2 can't see it, (Look at Fig. 4.) You might say, "The ace of hearts {5 your card." Square - and you've automaticel- Ly Feversed the JH co position! Move to specta— tor #2 (center). Repeat exactly as for spectator #1. I.e., uirror Count to show spectator #2 three beck He" concenerates, you do your eagical twist. (or gesture) and Mirror Count agains His card (28) EXoes face up at your lefe of the fan. show ond Stress it as you ded for #1 (an Figure 4) which NSete" the SHY Square, move to epeceacor #3 and repeat ~ Mirror Count’co show him three backs = Brett Geo. Murcor Counc again — has card (3H) Sppedrs face eo him at your Left of the fan. ‘The deck proper is face down on che table. Grasp the double card at your left of fan ~ in Gifferent card (4G) facing you - just as you've been doing but, this time, Cura it end for end onto the deck. The GC coslasces. Ribbon spread; the face-up 3H ie on cop, at che rigne of che Spread. Place che 24 and the aH face up onto the°3H'- co end. You're clean! Agterthoughts: Each selected card not only appeates but Et appears face up! Te certainly se? Something to pley with. Ztrs an excellent variation of the’ "general. card" thene just as it as. ‘There are ways co eliminate one or two Mixcor Counts, but 1 prefer it exactly as John presents Doug Edwards We flourish is not Doug's; it's been a round = I don't know who devised it. The idea of using the flourish as a casual control of Selected, card ie Doug's. It's good. T've added ny ‘own "two cents," with which T have fooled Gone knowledgeable Cardmen- Both varsacions sre 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 se does make the flourish look a bit prettier. Hold a left Little fingertip break above the selected card. Your right hand on the deck; thumbtip at Soner end, second fingertip at right side of the outer end, forefinger is curled on top. Now a quick triple, jourish brings the selected Flourish Control card co the top. Your wight second finger 11fcs upward the top third (half the cards above your break) as your right thuab lifes upward ali the cards e- dove ‘the breaie. Your left forefingercip, also sting at the outer end, olde the sober end SE" the’ center section (center third) in place. That center section is actually helé only be- tween your left forefingertip and right thunb— Hp. If you've followed me correctly you have Formed a "2" shape. (Fig. 2; side view.) In performance ic fe one fairly rapid and fluid - continual = action fron start to. finish. I'm breaking it into steps for you. Keep moving your righe hand upvard and slightly forearda avay from you. This automatically causes your right thumbtip to raise the center section's inner end. That inner end is raised until it gan be eaught" between your right thumbeip and your right sthird fingertip. ft Ss just about Zuconatic. (Fig. 2 ts an exposed, stap-action, bide view.) Continue moving your right hané away from you - the center section's outer end starts to Fevolve around your left forefinger. (Fig. 35 another Stop-action view.) Your right hand 3 Row moving downward, automatically’ moving the (now) outer end of the center (face-up) section Gownwerd. It (your right hand) also starts to turn partially pala up. As the right hand moves, open your left Second, third and fourth fingers 80 that they can close down onto the face-up Center section. (See Fig. 4-) Close those fingers, bringing che center section all the vay to face-down position as your right hand turns palm down, turning Les Sne section ail the way face down to beneath, The original center section - to che bottom of the deck. (Fig. 5.) That's it; square the cards, and the selected card is on top. You can imne~ Ssavely go into a shuffle, keeping the vital care on fop, or don't shuffle at ali. (I do ay oun Status quo Shuffle, out of RIN SHOTS, here Te still fools nose every magician £ go it.) The card is under your cont tire Flourish takes searte flowing.” My "Iwo Cents": My variation is obvious bue, as I told you, I've fooled knowledgeable cardmen with it. It does have to be done casu- ally, and it's the handing after che flourish that's “iporcanc. Changing one step - the la. step - of the flourish gives me an almost built. in key card! ener 3) 7 Get your break and start the flourish ex- actly as T caught ic. When the center sec revolves around your left forefinger and your Tefe second, third and fourth fingers are clos~ 8 down oncd it, glance down and you'll see the face of the bottom caré of che right-hand sec- tion. (Look at Figure 4 again; the bottom card of the right-hend section iz the 3b —- chat's your key card.) It will be your key card ££ you change the end of the flourish slightly. (See the Afcer~ thoughts.) Instead of the right-hand section going to beneath the two left-hand sections, as in ‘Figure 5, bring chat right-hand section to the top. Your Key is now directly om the se- lected card. The two vital cards are about a ghizd from che cop of the deck} two-thirds fron I ininediately do 9 center Hindu Shuffle of the facedown deck. That is, 1 pull out @ small batch of cards from the cop third (Fig. 6) and Hindu Shuffle chose 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 lee- kay) from the upper two-thirds and sandy Shut onto the top (face) of the deck. Flip the deck Face down and do one or three rapid complete 6 The deck has been choroughly shuffled so far as your spectators are conzerned, and the selected card hopelessly lost. The deck really has been shuffled, but your key card is stick ing to the selected card iike @ burr. It {8 Still directly on cop of it. Go into your loce- tion miracle Afcerthoughts: The flourish itself