TOT TDA WA
CHI TRO
copreignt (€) 1990 by Kart Pulves
Jim Snapp has taken one of the old-
est props in magic, and with clever
thinking has developed a routine in the
mivacle class. Only the standard coin
slide is used, and at the finish there is
nothing to get rid of.
The effect is that the slide is first
shown empty and then slid back into the
holder. The magician borrows a nickel and
Places it on top of the holder. He patters
that the coin slide is really a matter
duplication device. the nickel is removed
and tha slide puiled out of the holder.
Resting in the hole in the center of the
slide is a duplicate nickel.
This nickel is placed on top of the
holder. The slide is slid back into the
holder. A snap of the fingers, the slide
is removed, and another nickel has been
duplicated.
The two nickels are now placed on top
of the holder and the siide pushed back
into place. A snap cf the fingers, and
when the slide is removed, a dime is seen
to have been produced. At this point all
may be left with the audience as there is
no gimmick to find and nothing to got rid
of.
-1305-Method: The coin slide is the usual ap-
Paratus you bought as a child. as indi-
cated in Fig. 1, there is a nickel waxed
to the underside of the holder.
Inside the hidden section of the
slide you have a dime with wax on the un-
derside of it. The dime is wax-side down,
but is not attached to the slide. On top
of the dime is another nickel.
At the start the slide is inside the
holder. The cut-out in the holder is to
the performer's right at the beginning of
the routine.
1. Pick up the holder with the LH
covering the nickel. Show the holder on
both sides, Fig. 3 and Fig. 3A. The left
fingers conceal the waxed nickel.
2, Pull the slide out of the holder
with the RH. Show it empty and place it
on the table so the narrow side is toward
the spectator.
Borrow a nickel from the spectator.
As this is being done,secretly pull the
waxed nickel from the holder into the
cupped left fingers.
‘The RH picks up the slide by the
fax end and inserts it into the holder,
Fig. 4. This turns the slide around end
for end. Place the borrowed nickel on
top of the holder, at the right end.
Patter about matter duplication,
3. Pause for a mental count of three
and then tip the borrowed nickel onto the
table by raising the left end of the
holder, Fig. 5. This also has the effect
of lining up the nickel and dime inside.
4, Open the slide to show the nickel
inside by pulling the slide about 3/4 of
the way out of the holder. Take the slide
and holder into the RH, Fig. 6,
Ze)
These items bear no relation to
one another. The first is a simple but
not self-working pop-up method of reveal —
ing a chosen card. The second is a bit
Of mathematical doodling that may at
some future time actually prove to be
of value in a magical context.
Card Popper
Most readers will be familiar with
4 Jules Dhotel method of causing a card
to pop up in the deck. the reference is
"Nore Card Manipulations," #2, pg. 25,
and though the reference may not be fam
Alia, the action of the move probably
is. What follows is a slightly differ
ent approach, one whereby a sliding ac~
tion of a packet seems to be responsi-
ble for the pop-up of the card.
Bring the chosen card to the top
of the deck. You are now going to enact
@ move usually called the Braue Rever~
sal, though I think Martin Gardner
should get a share of the credit here.
Briefly the action is this. Hold
the deck in LH dealing position. obtain
@ right thumb break under the top card.
Wold the deck from above with the RH.
The LH then pulls the bottom half of the
deck away, turns it face-up and places
it on top of the pack. The LH then
takes the remainder of the facedown
cards below the right thumb break, turns
them Zace-up and places them on top of
the deck. The result is that the deck is
face-up and the chosen cardis face-down
at the back of the deck.
Hold the deck in the LH, face of
the pack toward the audience. ‘The left
Karl Fulves
TWO TRI
forefinger pulis the outer end of the
chosen card away from the balance of the
deck. At the same time the RH grasps the
facempst half of the pack, Fig. 1.
Injog the facemost half for about
half its length as shown in Fig. 1.the
RH then slides this half flush with
the balance of the deck, Fig. 2, ina
quick, sudden action.
At the same time the left fore-
finger pulls the chosen card inward.
‘he card will pivot around the left
thumb and pop up into view with its
back toward the audience, Fig. 3. an
exposed view of the LH at this point is
indicated in Fig. 3A to illustrate the
action of the left forefinger.The idea is that the sliding of
the facemost half of the deck appears
to account for the sudden pop-up of a
reversed card. Further, the reversed
card appears to pop up from the center
of the deck. Remove the face-down card
and show it to be the chosen card.
Another version, in which two
cards simultaneously pop up from dif-
ferent places in the pack, will be des-
cxibed elsewhere.
Checkers
Alternate 3 reds with 3 blacks,
then hold the 6-card packet in dealing
position in the IM.
Turn the top card face-up on top of
the packet. Then deal the top two cards
into a heap on the table. Pick them up
as a unit, turn them over and replace
them on top of the packet.
Deal the top 3 cards onto the tab
le. Pick up the dealt packet, turn it
over and replace it on top of the pack~
et.
Deal the top 4 cards into a heap
on the table. Pick up the dealt packet,
turn it over and replace it on top of
the packet.
Finally, deal the top 5 cards in-
to a heap. Pick up the dealt heap,tuma
it over and replace it on top of the
card in the LH.
‘The colors still alternate but
now every other card is reversed.
If you do the trick without the
packet-turnover at each step the col-
ors will separate.
THE CHRONTCEES
Non subscribers are invited to
write for subscription information.
The address: xarl Fulves, Box 433,
Teaneck, N.J. 07666.
Free catalog available on re~
quest. I don't advertise so this is
the only up-to-date listing of a-
bout 30 titles from this address.
Chronologue
Non-subscribers who wish to ob-
tain the rubber bands for Hartman's
“Band In Boston" (Chronicles #26) can
get them at no charge. Send a stamped
self-addressed envelope to this ad~
dxess...R.D. Blair mentioné that the
Gemini Rope Trick and Cricket should
have appeared in the same issue so that
the issue could be called Gemini
cricket....There are now several mar
keted versions of Matsuyama's "Para~
dox." The bast I've seen is the three-
piece version marketed by Bill Elliott.
Card is made by hand. Cost is $10. For
more info write Bill at 212 Adelaide
Street West, Toronto, Ontario, Canada
MSH 1W7. An article on geometric van-
ishes, different from the matarial in
CURIOSER, will appear later this year.
-Should mention that this volume of
Chronicles will be the last, tho T in-
tend to keep in touch with readers
thru Interlocutor.
Regarding the recent Doug Henning
tv special it is rumored that re-runs
of the show are being used to torture
prisoners in South American jails. odd
that some programs can turn in 30 good
shows a season but magicians have
trouble putting together che good show
a year.that Henning and co. should ac~
cept money for such shoddy work is,
merely disgraceful.
Magic shows seem governed by two
timeless rules; make sure the show
runs too long, and close big. Not much
can be done about the first, but pos~
sibly intelligont ontertainnent com-
mittees can decide to close stage shows
with acts that are not necessarily
the biggest but always the bes}. Not
too long ago I saw an excellent show
featuring a hilarious conedy act that
got a standing ovation. The show might
have closed at that point but we were
then treated to a series of illusion
acts that numbed the mind. Surely
there is an alternative?Whe unique angle on this control-
Jed cut is that the initial action is
used to set up either a red-black
shuffle or a false cut that retains
top stock. The cut is credited to
Jacob Daley and Dai Vernon and the
description here was provided by Lax~
xy Jennings some years ago.
1. ‘The hands grasp the tabled
deck at the ends, Ri at the right
side, LH at the left side. the loft
‘thumb establishes a break under the
top quarter of the deck, "A" in Fig.1
2. The Rif undercuts BCD out to
‘the right and then back onto "A" but
in a stepped condition, jogged to the
left, Fig. 2.
3. The right thumb establishes a
break at the center of the pack, be~
tween "B" and "C", and then moves
“BY and “CY to the right, flush with
“AN, Pig. 3.
4. We'll carry this through as
Af the intent was to perform a red/
black shuffle. If this were the case,
"a" and "B" would contain the red
cards at the start. The bottom half
of the pack (C & D) would contain the
black cards at the start. You are now
in the situation indicated by Fig. 3.
The RH takes B,C,A to the right
until they are clear of "D," then
back onto "D", leaving "A" on "D"
‘These two packets are kept separate
from one another by a thumb break be~
tween A and D, Pig. 4.
‘The RH then cuts BC te the right
and you commence a red/black shuffle.
That is, shuffle D into the bottom
quarter of BC, and shuffle A into the
top quarter of BC. At the finish of
the shuffle the colors will still be
separated.
5. If the intent isto perform a
false cut that retains top stock, the
Left thumb does not establish a break
between the packats in Fig. 4. The
block "A" simply Lies on top of "D"
and flush with it.
6. As soon as "A" has been de~
posited on top of "p" the RH imned-
jately cuts EC forward to the right
and slaps this packet onto thetable.
‘hen the RH slaps AD on top of BC. The
original top stock has thus been re~
tained.
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RA. GuTs Ble
To RIGHT FSR
R/B SHUFFLE.
Ef TOR RETAINING
¢C 8 ep dre.
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