CHRONIC copyright ©) 1978 by Karl rulves Mike Skinner COIN From Mike Skinner comes one of the rare coin tricks that looks impossible but is based more on subtlety than skill. As seen by the audience, the magician displays a Copper coin and a Silver coin resting on a card case. The coins are toss~ ed into the right hand and then placed on the card case again. The spectator names one of the coins. Say he names the Silver. He is asked to remove the Silver coin from the card case. it scens like an easy request, but it is impossible because the Silver coin is now under the cellophane wrapper of the card case! Method: In a letter Nike notes, "he basic idea for this routine was shown to me by a Japanese magician named Kuno~San." Use two duplicate, shiny old half dol: lars, Standing Liberty or older. Also used is a dark English penny. The halves must be as shiny as possible. Ingert one half under the cellophane wrapper on the brand-name side of a card case. ~1065~ ENTRA .PPED Place the English penny on top of! this half, overlapping it, but on the out- side of the wrapper. Hold’ the duplicate half under the card box, clipped to the bottom with the left fingers. The left thumb is on top of the box, but not touch- ing either coin, zoth hands can be shown otherwise empty. ‘The left hand tips the two coins int to the right hand. The action here is the same as the coin tray. The English penny is transferred to the right hand, as is the duplicate half-dollar under the card case. The right hand displays a copper 6 a silver coin. The Silver is closest to the palm and the Copper overlaps it. The card case has of course’ been turned over in the pro- cess of tipping the twe coins into the right hand. Place the right thumb on the Silver in the right hand. Pretend to slap the two coins back onto the card box as you turn the card box up again. Only the Cop- per coin is transferred to the card box; the duplicate Silver is retained in the right hand. Display two coins on the card (Cont'd on next page} alBaitorial policy is the same as it has been since 1965, two or three good tricks an issue. Emphasis will be on cards, coins, mental and close-up magic, but there will be frequent excursions into oda regions of the art. In the first two issues, the topological Hypercard and the article on close-up evitations are examples of off- beat material that will appear here. Contributions are welcome, and in- deed necessary. A magazine is only as good as the material it features, and since this is a journal that has no col- umnists, no advertising and no reports, it is cléarly dependent on tricks and related material. When time and space permit, I'11 resume the Letters, Reference, and Retro- spective pages. You will note that the page numbers begin where The Pallbearers Review left off. rhe reason is that it makes it easier to refer back to related material. In some cases a simple trick sug- gests numerous avenues. An example is the Al Baker trick in this issue.One can immediately think of a variation where 6 spectators choose cards from a Gray- coded deck. While the magician turns his back, those with black cards raise their right hand, then lower them. The magician turns around and proceeds to name the value and suit of each of the six cards. If you're familiar with Gray codes, this paragraph makes perfect sense, Otherwise, it seems complex. Be cause it is impossible to cover such subjects as Gray codes in a magazine, variations and approaches like this one must go unrecorded. In the same way, a trick like "You Win Once" is described in simple form —— (COIN ENTRAPPKD: Cont'd from pg. 1065) box. The situation is as at the begin- ning of the routine. By means of the magician's choice, get the spectator to choose the Silver coin. Pick up the Copper. Ask him to re~ move the Silver. He will be dumbfounded to discover that the Silver coin is now under the cellophane wrapper. to reach the largest number of readers. Those who know sleight of hand can easily put back in the sleights I took out. In general, the non-gleight card trick will always be preferred to the nanipulative card trick. In this journal an effort will be made to continue the policy of present- ing routines of Stars Of Magic quality as often as possible. Throughout, you will have the benefit of Joseph Schmidt illustrations to make the deseription as clear as possible. Keep in mind that there is as yet no known way to convey every possible detail of a trick by means of text, drawings and film, If a trick seems im practical,or impossible to get away with, it may be that the reader has the wrong interpretation of the descrip- tion. It is impossible for you to do a trick exactly as the trick's inventor does it because there will always be mannerisms and details that suit one Performer but not another. Enough preaching. THE CHRONICLES Menno Single Issues. ....$2.00 Tricks, ideas, news, notes, and letters are welcome and should be sent to the address below. Non-subscribers can obtain a free catalog on request. Address all mail to: karl Fulves P.0. Box 433 Teaneck, New Jersey 07666 Phone: 201-427-1284 ~1066~ aan‘Through Martin Gardner T was able to contact Kim Iles for per- nission to use this strange idea, In a letter,Kim wrote: "I was ine troduced to"it at a meeting of our statistical group here on cam Pus and it caused quite a stir. My fussian friend, a visiting profes- sor, tells me it is used as one of the questions on the entrance exam for the school of architecture at the Universi-~ ty of Leningrad." The puazle is this. Referring to the illustration below, take a file cara then cut and fold it so that it looks like this illustratio: You tell him that by passing the file card through a higher dimension, it is possible to bring the initials closer to gether. This is done in a simple cut and fold process. The result is that the in= itials are closer together after the card has been passed through hyperspace. The key to the method is an excced- ingly clever idea devised by Mel Stover and Howard Lyons. This is to perform part of the cutting operation prior to the performance of the trick, and then to conceal this fact. The following is a handling that I worked out, based on the Stover/Lyons premise. 1. To prepare, fold a piece of pa~ per in eighths. If your initials are Ja, put them on the back of the card, or- The problem appears impossible be- iented as shown in Fig. 1. gause the center panel is at right ang~ jes to the rest of the card. But if the problem is simplified, the solution be- comes chvious: Now that you have an insight into the solution, the next point to consid- € is how to work the puzzle into a mag~ ical context. You use nothing but the ile card and a pair of scissors. goth you and the spectator initial the card, 2t opposite corners. 2, To complete the prior prepara~ tion, use the scissors to make a cut from the center of one long side to the niddle. This is a cut from "C" to the center, and it looks like Fig. 2. 1067. Have the spectator initial the upper left corner. You openly initial the upper right corner. The situation thus far looks like Fig. 5. 3. In presenting the routine ,hold the file card with the right thumb cov- exing the cut at the center. Then cut c @ from "A" to the center and from "B” to the center. The result will look as shown in Fig. 3. this cutting of the file card is done openly, but the spec tator is unaware of the cut concealed by the thumb, and also of the initials : ae on the underside of the file card. Pes eee oii avi place, pick up the file card. Then grasp it as shown in Fig. 6. o @ Romark that in order to get 4, Now fold the center panel down toward you as shown in Fig. 4. Slip the xight thumb on top of the panel to keep it in place. ‘The panel now con- cealé the secret cut. ® the initials closer together, you are obliged to pass the card through hyper space. Then add, “Tt is’well known that hyperspace exists just out of sight, below the level of the table~ top." Holding the card as shown in Fig. 6, place it below the level of ‘the tabletop, so that it is out of the spectator's Line of vision. 8. Grip the card with both hands, as shown in Fig. 7. While the left hand remains stationary, the right hand turns palm down with its sec- tion of the card. ‘The result of this ac~ tion is shown in Fig. 8. The initials JA ~1o6a-in Fig. 8 are actually the secret set of Anitials you wrote on the back of the card when preparing the trick in Step 1, 9. the left hand now releases the flap. The result is the seemingly impos- sible llypercard of Fig. 9. Bring the card up into view and rest it on the table so that the spectator can clearly see the result: his initials are indeed closer to yours than they were at the start,and the center of the card is now standing upright and at right angles to the rest of the card. Note that by having the spectator in itial the card, you have dispelled the possible suspicion that you switched out the original card and switched in another card. Once the spectator sees the result. of Fig. 9, fold the card and place it in your pocket, There is a presentation where the Panels are numbered with dots in Fig. 1 so that they resemble the faces of a die. There is also a handling where the panels are alternately shaded red and black to Produce a checkerboard. The "parity" of the checkerboard remains constant after the card goes thru the cut and fold oper- ation that produces Fig. 9, There is also a handling using a playing card. If this seems like a sim ple extension of the above handling, you have not given the problem enough thought. There should be a presentation with a business card because Hypercard would be a sensational handout, but T @xew a blank on a workable handling. Finally, there is a handling that produces the configuration on pg. 1042, but it's mach too complex to go into here. There are also file-card sculp- tures where the cutting is done, for ex- ample, on the diagonal rather than at xight angles to the centerline of the file card. In the presentation of tricks 1ike Hypercard the important point is that the trick must appear to be impromptu, some~ thing you just thought of. If the audi- ence suspects prior preparation, they'1L assume that anything is possible, that any result, no matter how strange, can be accounted for by secret prior actions. 1£ you do other tricks using file cards, or cards that are double blank as called for in some card routines, then you have a logical starting point for the Presentation of Hypercard. The effect, that is, the configuration of Fig. 9, cannot possibly be anticipated by any rational onlocker. This, coupled with the apparent impromptu nature of the ex- Periment, makes it seem astounding. ~1069-Jeff Busby (This version of the small-packet all-backs routine was received from Jeff in 1975. It is an early handling of a Busby routine that is marketed under the name "Back To Back." The routine uses ordinary cards, and is relatively easy to perform. A 4-as-5 count originally described in Epilogue, and a 5-card vers~ ion of the Ascanio Spread are employed. Both will be fully explained in the fol- lowing description. KP) Five cards are convincingly shown to have backs on both sides. They are tapped and immediately turned over to re- veal that they are now a Royal Flush. Set-Up: From the top of the pack the set-up is 103-AS-9s-face-up indiffer- ent card~face up KS-face up JS- rest of deck face-down. The top card of the £ace- down deck is thus the los. Working: With the deck face-down in the left hand, remove the top six cards as a block with the right hand.Put. the balance of the deck face-down on the table. The rest of the handling is then as follows. 1. Place the packet in dealing pos ition in the right hand. The packet is face-down. 2. Push the top card over to the left. On the count of "one," take this card into the left hand, thumb on top, left fingers below. 3. For the count of "two," the ROYAL BACKS right thumb pushes the top card of its packet to the left. As the left hand ta- kes this card, the card in the left hand is loaded back to a position under the right-hand packet. 4. On the count of "Three," the right thumb pushes over a block of 4 cards (that is, all but the bottom card of the right-hand packet). The left hand approaches the right hand, and as the block is taken into the left hand, the single card in the left hand is slipped or loaded onto the bottom of the right-hand packet. 5. On the count of "Four" the left hand takes the top card of the right- hand packet as this card is thumbed o- ver by the right thumb. 6. On the count of "Five" the left hand takes the final card from the right hand onto the top of the left~ hand packet. This completes the 6-as-5 count. 7. Flip the packet over and again count 6-as-5. 8. ‘Thus far you've shown that the cards have backs on both sides. As soos as the count of Step 7 is completed, ‘thumb off the top card face~down onto the table. 9. Flip the packet over and once more thumb off the top card onto the one you just dealt, 10. Repeat by flipping over the packet and dealing the top card onto the tabled cards. Al. Flip the packet over and deal a 4th card onto the tabled cards. 12. Snap over the last two cards as one. Then pick up the packet ff the table and drop the packet on -1070=top of the double card. 13. Thumb off the top two cards into the left hand without changing their order. Use these to flip over the packet in the left hand. then drop the two cards onto the packet proper. 14. PLip the packet over again and thumb off the top two cards into the right hand without changing their order. 15. Flip the packet over onte the 2 Cards and square up the packet. The above actions are done casually but rapidly and give the illusion that all cards have backs on both sides. The actual sequence from Step 8 to Step 15 is quick and smooth. 1G. Snap the packet and turn it o- ver. Display the Royal Flush by doing a Pive-Card Ascanio Spread. this is done by geasping the face-up packet at the outer narrow end between the right thumb and second finger. The left first finger then takes the backnost card (10S) and sliding it to the left. The left 2nd fin- ger contacts the next card (JS) and slides it to the left. The left 4th fin- ger contacts the next card (QS) & slides it to the left. This sequence is usually called a back-spread. The 1d-J-Q are in a fanned condition. ‘The left thumb now contacts the KS (face card of the packet held by the vight hand) and slides it onto the fanned cards in the left hand. You are left with the AS held by the right hand. ‘The Ace is actually a double card. Drop the double card on top of the facedown deck. Follow by dropping the other Royal Flush cards on top of it-in order as you call their names. The pro- duction of the Royal Flush is quite startling. (The reader may wish to consider a variation where you end with a Royal Plush, then show that the backs of the cards have changed color. The handling should be as clean as the Busby routine and should involve an absolute minimum number of cards. While not required, a fairly logical patter line would also be of value. KF) LESSON This routine is from Baker's manu~ script "Cardially Yours," listed in a 1940 Thayer's catalog, and was made avail: able by Fr. Cyprian, This trick is an object lesson for all performers. It is a case of getting something for nothing~ It is purely an offhand effect that you can do whenever the occasion presents itself and needs a mantle, shelf or some place where objects can be placed above your head. Take two objects that may be handy and place them on the shelf about half a yard apart. Have a spectator stand facing them and ask him to look at then for a minute. He is to decide upon one of them while your back is turned, take it down, say to himself “I like this one best" and then replace it. Then the performer | turns around and, looking at him intent- ly for a second, indicates THE ONE HE. LIKED BEST! The method is simply the old prin- ciple of bloodless hands. The spectator faces two objects above him. He takes down one of them and then replaces it. ‘The mere action of this causes the blood to leave the hand used, and at a glance the performer knows which hand was used because of the whiteness (that is, the hand is more pale than the other hand), This is merely to show that no mat~ ter how old and simple a principle may be, it can be dressed in a manner that makes it new, and with proper presenta~ tion becomes a modern miracle. ~1071-Karl Fulves THE ISIS SLATE In essence this is a fast, easy method of coding a four-digit tele~ phone nunber to a medium or, via a confederate, to the magician. It is presented here as a test in remote viewing. While the medium is in another room, the mentalist has someone open a phone book to any page and note any phone number. Glancing at the name and address of the chosen party, the mentalist says, “I know the general area where this per~ son lives. There are two cross streets. Here's a simple map of the area. ‘the mentalist draws a map on a slate as shown in the drawing at the left. He then says, “the modiun will recognize the intersection. Then by thought projection she'll be able to visual- ize the house, the living room, the telephone, and e~ ven the phone num- ber." ‘The slate and chalk are handed to the spectator. He takes them to ‘the medium. She glances at the map, con- centrates for a mowent, and writes four digits on the reverse side of the slate. It is the chosen phone number. Method: Though it does not seem at all likely, the two lines drawn on the slate actually code the entire 4— aration consists of writing in pencil the digits 1 to 9, plus 0, along the top of the slate, the bottom, and cach side. The re- sult looks like the drawing below, but be- cause the writing is done in pencil it is in- visible to any specta~ tor who sees the slate. When the spectator cho- oses a phone number, it is natural for you to note it since you're go- ing to sketch a map of the location of the cho- sen number. In fact note the last four digits of the chosen telephone number. Say the digits are 2837. the first digit you code will be from the top row of digits on the slate. The 2nd digit of the phone number will be coded from the botton row of numbers on the slate. Simply draw a Line connect ing these two numbers, as shown in the drawing here. The audience ‘thinks you are drawing a street map. The 3rd di- git of the chosen phone number is co~ ded from the colunn of numbers on the left side of the slate, and the 4th digit from the column of numbers on the right side of the slate. Just draw a -1072- digit telephone number. Prep-ine connecting the proper dig- it on the lest with the proper digit on the right. In our examp~ le the 3rd and 4th digits are 3 and 7. They would be con~ nected with a line as shown in the drawing en the left. Draw the Lin~ es casually as you tell the spectator that you'll draw a simple map of the area where the par~ ty lives. The tuo Lines look as if they might be a street map, so your explana— tion is logical. Certainly no one will (YOU WIN ONCE: conta) and, the next card under it and slight- ly outjogged, and the next card under that. Do this slowly so the spectator can follow the cards. 13. "The card is no longer above the Queens. It's between them." Remove the center card, turn it face-up and replace it between the other two cards. The face-up card is an indifferent gard. the psychology is that the other two cards must be the black Queens. 14. Toss the face-up card aside. Say, “Now you know how the gambler cheats, so you won't have trouble wine ning. (Pause) once." 1S. Holding the two face-down cards squared in the left hand, remove the top card of the deck with the right hand and place it on top of the two supposed Queens. 16. Snap the fingers over the packet. Say, "I put the card on top of the Queens. where is it now." 17. ‘The spectator will say that it should be between the Queens. Re- move the card that is in the center of Suspect that two straight lines can code a 4-digit telephone number. The spectator then takes slate and chalk in to the medium. she sketches in @ house, perhaps a street light, as if getting this information via remote viewing. In fact she uses the interval to note the 4 coded digits. Then she turns the slate over and writes down the telephone nunber. Since you can code any number up to 10,000 it is obvious that you can use variations of the system to code playing cards, colors, symbols, and e~ ven words, as long as the context is logical. If working with a confederate, you turn your back and ask him to ai~ vide the slate into 4 sections. when he does, he codes previous selections made by the spectators. You then use this information to £111 in the four spaces with revelations of the four different selections. the packet, turn it face-up ana replace it face-up between the two face~down cards. 18. This card is an indifferent card. Again the psychology is that the other two cards must be Queens. 29. Say, "You won. A pity that you can only win once at this game." Remove the face-up card and toss it aside. 20. “I'11 show you the problen. As it was explained to me, there is a curse on the cards. It is impossible to win again at the game." Take the top card of the deck and openly place it between the two face-down cards. 21. Place the 3-card packet on top of the deck. Square the deck,but leave it on the table. 22. "You saw me put that card betwoen the Queens. Where do you think it is now." Recardless of the reply, remove the top card, turn it face-up and show it to be a Queen. ‘Then turn up the next card and show it to be the other black Queen. The card between the Queens vanished. -1073-YOU WIN ONCE ‘The effect may read like twenty other tricks you already know, but the premise and handling are different and do not rely on false counts and other familiar approaches. You ‘explain to the spectator that you were taught a game by a gambler,and as he explained it, the game had a unique feature: even knowing what to ex- pect, you could only win once. ‘Two Queens are used, and the game evolves like an in-the-hands version of 3-card monte. The spectator is shown how to win. Then he is allowed to win. ‘Then he loses. ‘There is one simple move that sets up the routine. From there on, the en- tire trick is self-working. 1. Hold the deck face-up in the left hand. You are going to spread the cards fron hand to hand, upjogging the black Queens as you come to then. Push the face card over to the right. Push the next card over with the left thumb, but as you do, downjog it a bit. 3. From here on, push cards direct- ly to the right, where they are taken ly ‘the right hand. when you get to each Queen, that is, the black Queens, up- jog each. 4. Square the cards, At this point the black Queens are upjegged. The sec- ond card from the face of the face-up deck is down-jogged. 5, Hold the face-up deck in the left hand. The right hand removes the black Queens and places them on the face of the deck. 6. The right hand now moves to a -1074- * position over the deck, fingers at the front, thumb at the back, to square the deck. ‘The right thumb contacts the back~jogged card and lifts it, thus forming 2 break under this card as it is squared with the balance of the deck. 7. Te left Little finger now en- ters the break and maintains it. You're holding a break under the 4th card from the face of the deck at this point. 8. The right hand, still over the deck, now lifts the four face cards as aunit. Say to the spectator, "We use the two black Queens." 9. The left hand places the deck face-down on the table. Then the left hand grasps the 4-card block and revol- ves it to a face-down condition in the right hand. 10. “Here's how the game works. You only have to keep track of this cara, It's impossible, so I'll tell you what to look for." As you say this, the left hand takes the top cara of the deck and places it face~down on top of the face~ down packet in the right hand. Ll. "This card is placed on top of the Queens." Take the packet with the left hand and place it face-down on top of the deck. 12. "By means of sleight of hand the gambler taught me, a secret move is used." Snap the fingers over the deck. Then take the top card into the left (cont'd on pg. 1073) atTHE No.2 CHRONICLES ' copyright (©) 1978 by rari Puves Derek Dingle ELASTIC In the early part of 1974 Larry Arcuri demonstrated a clever close-up illusion with a rubber band, in which a single rubber band was made to look like two separate bands. I thought it would be a good idea, especially for those who knew the original, to extend the handling so that you did in fact finish with two separate bands. The idea was discussed with sever- al people, among them Conrad Bush and Paul Ostrand. I worked out several ideas but did not devise a good handling. a- bout 24 hours after T described the in- tended effect to Derek Dingle, Derek had worked out a brilliant solution to the problem. The following is the Dingle routine, from notes of gune 2, 1974. ae ber band is secret- ® cae Soe ae ee eee eee a oe Show the other rubber band and stretch it between the forefingers of the hands, as indicated in Fig. 1. ILLUSION Move the hands together, then apart, then together, then apart. Bring the { hands together once more. You are about ' to do the first part of the routine in which one band appears to be two. he the ants ave neon togetine Bee celta lua Ear irigotieotant meee | ordelsbecabeepiort eel the Tubber bard asso ut too Lom @* ri (cont'd on pg. 1082) |Frank Garcia DOUBLE POST One of the highlights of Prank Garcia's lecture is his presentation of the cups & balls, There are many fine routines for the cups and balls, but Frank's routine is the most entertain- ing I've seen. The following is an or- dgianl Garcia move for the cups & balls, and I'd like to thank Frank for making this move available. Tf you are familiar with an old cup & ball move called the Galloping Post (Hugard's Modern Magic Manual,1939 edition, pg. 130, item 4), you will quickly grasp the mechanics of the Garcia move. The starting position is shown in Fig. 1. Unknown to the audience, there is a ball under cach of the top two cups in a nest of three cups. You want to remove the top two cups, secretly carrying along the ball under each, as the top two cups are placed on the tab- le. or 8 Grasp the top cup with the left hand and lift it about an inch off the stack. The right hand then grasps the second or middle cup of the stack. The position is shown in Fig. 2. Lift the upper cup so it is even with the top of the middle cup. The right hand lifts the middle cup so it is even with the top of the bottom cup, ‘The left hand moves to the left with its cup} it moves straight to the left and down, dragging the ball along with it. At the same time the right hand moves to the right and down with its cup. The ball under this cup is dragged along under the cup. The action is in- dicated in Fig. 3. The result is that the three cups are now in a row on the table, and you have a ball under each of the end cups. ’ A Oe This description does not do justice to a beautiful cup & ball move. You have to try the move to see how deceptive it really is. Although the above text pre- sented a step-by-step account of the handling, in practice the hands move simultaneously. The move is accomplish ed in a split second and the real intert is never suspected. Karl Fulves IN WRITING Three coins are placed in a row on on the table. The spectator chooses a coin. This coin is vanished and made to appear inside a sealed envelope that has been in view from the start. ‘The method uses the magician's force to get the spectator to choose a particular coin, but the novel angle is that the-force is set out in wri- ting at the start of the trick. Also, the spectator himself has a hand in completing the written force. Preparation consists of having a coin, say a penny, inside a pay envel~ ‘ope, wedged into one corner. Also in the envelope is a dime, a quarter and a duplicate penny. (conta on pg. 1083) ~1076~As far as I'm aware, the first im- promptu, no-gaff levitations to appear in a close-up journal were the methods described in The Pallbearers Review, pgs. 102 and 755. The latter entry was the now-famous article by Ed Balducci. A currently popular magician who, claims the ability at self-levitation uses ex~ actly this method when pressed to den- onstrate his ability to rise off the ground. A well-known mentalist uses it as a publicity gimmick; when he is a~ lone with a reporter, he gets the sub- ject around to supernormal feats, and then performs the "Impromptu Levitation! just as it appeared in the original ar- ticle. ‘The popularity of these methods en- couxaged the appearance of a follow-up treatise on the subject. Not all of these methods are impromptu, but they share @ common theme in that they don't require elaborate props. Except for the last method, all can be done at close quarters. ‘Truzzi/Gardner Method ‘The first method was used by cir- cus performers. It was described by Marcello Truzzi and related via Martin Gardner. ‘The performer enters carrying a large paper bag. He removes a cloth sheet from inside the bag, Pig. 1. ‘The bag is placed on the floor.the magician places the sheet in front of his body, Fig. 2. The sheet is lowered to the floor. Then the magician begins rising into the air, Pig. 3. Note in Fig. 3 that both feet are off the floor. You rise about 12" in the air. Then you float down to the floor again. The sheet is dropped Anto the bag and you walk off. The method lies in the paper bag. When you lower the sheet to the floor momentarily between Fig. 2 and Fig. 3 a~ hove, you place your right foot into the bag, Pig. 4. The other foot is raised as you raise the cloth. The paper bag seems an innocent prop and, except to 1077+ adthose who know the method, is hardly Likely to fall under suspicion. gohn Cornelius Method You begin with the sheet rollea up or folded as you walk into view. The sheet is placed in front of your body as shown in Fig. 5. Scumisr ‘hen, your head still in view,you begin to rise off the ground as shown in Fig. 6. After you've risen a foot or so off the ground, you slowly float back down, fold ip the sheet, and walk off. The gimmick is as ingenious as it is unlikely. Large diameter plastic pipe is made for use in underground water-transport systems. It is flexib— le, lightweight and strong. A piece of pipe, Pig. 7, is used. The length is slightly less than the distance from ankle to knee. ‘The length of pipe is hidden und- ex the trousers as shown in Fig. 8. That is, you slip the pipe over the foot and slide it up the leg under the trousers. To present, walk on with the fold ed sheet. Unfold it and hold the sheet as shown in Fig. 5, Behind the cover afforded by the sheet, point the toe of the right foot down and allow the ~078-plastic pipe to slide off the leg and onto the floor, You then step up onto the pipe, Fig. 9, and begin to hoist the sheet up as you apparently begin to levitate off the floor. Karl Fulves Method Intended for use in the hone or at conventions when you invite guests up to your room. You can, using this meth- od, levitate right up to the ceiling. As seen by your audience, you walk to a nearby doorway and hold up a sheet in front of you as shown in Fig. 10. You and the sheet then begin moving straight up until (if you like drama~ tics and can tolerate pain) your head slams against the ceiling,See Fig. 11. \\) wy < You then float back to the floor, toss the sheet aside, and join your amazed friends in the room. ‘The method comes at a price. You need a strong, willing confederate. I used this method when T was much young- er and much lighter. These are favor able qualities because the confederate must be able to carry your weight on his back. ~1075- The confederate waits outside the hotel room, When ready to perform the levitation, open the door and stand outside in the hall. Make sure no one else is in sight because you don't want to tip the method to other convention- goers or unnecessarily frighten inno- cent guests in the hotel. Lower the sheet to the floor. As you pretend to adjust the sheet, your assistant bends forvard, bracing his hands on his knees. You then clinb on his back as shown in Pig. 12. Slowly straighten up. Your assistant also begins to straighten. Generally it won't take much effort to bring about the illusion that you are rising up to the ceiling. 0 finish, just reverse the pro- cess. While you gather the sheet, your confederate makes his getaway. You then re-enter the room and acknowledge ‘the applause.Stage Method ‘This method is not new, but it is not generally known. At present the idea is being used by a European per~ former. For sheer boldness it is hard to think of a method that excels this one. Two spectators are invited up on- stage to assist. the performer wears bracelets and shoes that glow in the dark. The spectators hold his hands as shown in Fig. 13. The house Lights are turned ont. The perfomter then proceeds to float in the air as shown in Fig..14. Only the shoes and the bracelets are seen because of the Lights-out condition of the auditorium, but the illusion of Eloating is remarkably lifelike. The method is this. When the house lights are turned out, the per- former places the left shoe directly against the right shoe. The shoes are mechanically held together. It can be done with magnets or Velcro SHOES MECHANICALLY HELD TOGETHER, He then steps out of the left shoe as shown in Fig. 15. With his left foot on the stage, he raises his right foot. Both shoes rise into the air, as shown in Fig. 16. The illusion of floating is indicated in Fig. 14. This method appears to be a rever- sal of a spirit denonstration where an aura or other spirit manifestation is made to occur in a darkened room. ‘he idea was to paint streaks of luminous paint on the soles of the shoes. When the spiritualist was search ed by a cormittee, he could count on the fact that everything would be searched except the soles of his shoes. When the committee was satisfied that all was well, the spiritualist was seated in a chair and his hands tied to the arms of the chair, ‘The lights were then turned out. In the darkened room the spectators would see streaks of light, thanks to the spiritualist waving his feet in the -1080~(ELASTIC ILLUSION: Cont'd) The right hand continues moving to the right until it reaches the position in- dicated in Fig. 4. ‘The thumb and forefinger of each hand are brought together. The result is shown in Fig. 5. @ Separate the right thumb and fore~ finger, Fig. 6. Then bring them together again. Separate the left thumb and fore finger, and then bring them together a~ gain. This sequence, repeated rapidly, produces the illusion that you have con~ verted one rubber band into two. This will make no sense if you are just read- ing the text because the illusion is optical. If you try the trick with ap- paratus in hand, you will fool your own oyes. Let.the rubber band snap off the thumbs. In doing this you will have in- stantly changed two rubber bands back to a single band. Phase Two At this point the spectator will not know exactly what to think. He dis- tinctly saw two rubber bands, but now sees only one. The chances are that he will ask to see the rubber band. He may even try to re-create the illusion. This is all to the good because the follow~ up will astound him. Take back the rubber band and place 4t on the forefingers as in Fig. 1. Then turn the hands palm-up, Fig. 7. The right thumb conceals the extra band at this point. The back of the right hand 4s toward the audience. As you turn the hands paln-down, insert the right thumb into the con- cealed band as shown in Fig. 8. the xight thumb is concealed from the aud fence view at this point. Have the forefingers move in to- ward each other, then out, then in and out again. when they move in again, the ~1081-right thumb moves to the left, thus stretching the concealed band. ‘The left thumb moves over the right thumb and hooks onto the hidden band as shown in Fig. 9. eal yO ‘he hands inmediately separate, with the thumb touching the forefinger of each hand. You're back to Fig. 5, or so it seems. You now go through the business of Pig. 6, in which the right thumb separ- ates from the right forefinger, then contacts the right forefinger again. The left thumb separates from the left fore- finger and then contacts it again. Re- peat this rapidly a few times. The spectator is with you and is now sure it is all an illusion. For the surprising finish, slowly moverthe forefingers away from the thumbs. The result is Fig. 10, which, from the spectator's view, has no ex planation: you actually have two bands! There are two ways to finish. You can end the trick at this point and thus finish with two rubber bands, or you can show it was all an illusion by getting rid of the extra ruber band. This vanish can be accomplished by-lapping the second rubber band or by other standard means. Derek Dingle dem- onstrated a handling that is novel and, when he did it; indetectable. It is not easy, but it gets rid of the extra rub- ber band instantly. sing the hands back to the posi- tion of Fig. 5. Then move the left hand around clockwise to the position of Fig. 11. Let the second band slip off the thumb. Tt shoots back and into the right jacket sleeve. ‘The hands straighten again. Tt looks as if you have instantly conver- ted two rubber bands to one, o> (CAPER: Cont'd from pg. 1084) Take the face-up pack into the right hand, thumb at the near short end and fingers at the far end, the thumb taking over the break from the left Lit- tle finger. Move the right hand towards the table surface as if to deposit the pack, but keep hold of it with the hand al- though it is resting on the table. Immediately cut the upper section of€ at the break; point with your right hand to reveal the AH at the face of the lower section Remove the AH and flip it face~ down on the table, saying, Of course it has the same back design as the main deck." Reassemble the main pack and then spread it in a long face-down line on the table, saying, "Or has it.” ~1082-(IN_WRITING: Cont'd) When dumping the three coins out of the envelope, retain the duplicate penny inSide the envelope as shown in the drawing here. 1, TAKE THE TWO COINS ON THE 2. OF THESE TWO COINS, DISCARD THE COIN ON THE. Place the three coins in a row. The penny is the center coin. The situ- ation is as indicated in the second dzawing. eS + = Seal the envelope and place it on the table. Now remove from your poc- ket a card which has instruction #1 on one side, and instruction #2 on the other. Note that there is a blank space in each instruction: CLOSE-UP FOLIO Close-up Folio #11 deals exclus~ ively with dice tricks. Contributors axe Jeff Busby, Bill Scott & Henry Christ. Price $3.50. Order direct from your dealer ox from Karl Pulves Box 433, Teaneck, N.J. 07666. Hand the spectator the card and a pencil. Explain that he can choose either RIGHT or LEFT. Tf he chooses Right, he fills in the wora Right on both sides of the card. Tf he decides to choose Left, he fills in the word Left on both sides of the card. Assume he writes the word Left on both sides of the cara. Following in- struction #1, he takes the two coins on the Left. These would be coins #2 and #2 in the row. Have him place coin #3 aside as it is no longer used, Following the second instruction he reads; “Of these two coins, discard the coin on the Left." This he does, leaving him with the penny. Pick up the penny and vanish it by any method you do well. You can lap the penny as you pretend to take it off the table, then pretend to push the penny into the sealed envelope. After the penny has vanished, have the spectator tear off the flap of the envelope and remove the penny fom in~ side. The idea of having a magician's force in writing can be expanded to in- clude a large number of objects. as an example, check “Hex Squared" on page 466 for a l-out-of-16 force. 1083The color-changing deck is one of the most impressive tricks you can per- form with a pack of cards. If it has a single drawback, it is that it is com pletely explained by a spectator who guesses that you switched decks. This explanation is usually wrong, but since it makes sense, the audience is likely to dismiss the trick as a clever deck switch and nothing else. Roy Walton here suggests an ingen- ious path around the problem. The pres- entation is amusing, but in the end the audience is left with a baffling myste- xy. Preparation: You will need one cant with a different colour back to the pack you are using. As an example, let's say you have a red-backed AH and that your main pack is blue-backed. Arrange them from the top as fol- ows: red~backed AH, any blue-backed card, remainder of pack FACE UP. The Pack appears to be face-down but only the top two cards are really face-down. Performance Place the pack ‘face down’ on the table and say,"I would like you to cut ‘the pack into two heaps and I will tell. =1084- er section When the spectator cuts, name the face-up card that appears at the top of the lower section. This is an old gag, but it is used here to set up a very strong finish. Slide the named card off and leave it still face-up on the table. Rekplace the upper sec~ tion back on the lower one and place the pack in squared condition in the left hand. Get a left little finger break under the top two face~ down cards of the pack. The con- dition of the pack is still face~ up except for the top two cards. Say, "You may not think much of | that but your card has a different back ‘to the others." turn theSingle card on ‘the table over to reveal its back, and then take the card and place it into | your pocket. Use the right hand to apparently flip the top face-down card of the pack over so that it is face-up. But really turn two cards over as one, easy be- cause of the previously obtained break. All the pack is now face-up and the red-backed All is second from the face. Swing cut the upper half of the pack out to the left with the right forefinger, and place it below the oth- er section, keeping a break between the sections with the left little finger. Use the right hand to assist in squaring the pack and with the right thumb lift the top card of the lowor sec tion up to the upper one and then re~ take a left little finger break below this card. Move the right hand away from the pack for a moment. Say, "I think the trick would be more impressive if I named the card that was going to be cut to before the cut was made." Continue, "I will try and cut exactly at the Ace of Hearts." (cont'd on pg. 1082) — =No.3 CHRONICLE: copyright @) 1974 by Karl Pulves Fr. Cyprian THE SPECTRUM EFFECT (The title of this rou- tine might have been "Roly Smoke!" because that is ap- proximately what I said when T saw Fr. Cyprian denonstra— te it. the effect is a two card prediction, done with- out sleights. The starting point is an effect in Chaudhuri's Bedazzled mss., pg. 31, but the handling is such that all moves have been eliminated. KF) 1.70 prepare, take a shuffled deck and spread it with the faces toward yourself. As you spread the cards from left to right, upjog all red cards. strip out the reds and place them beneath the face-up black packet in the left hand. 2, Note the two black cards at the face of the deck. For example, the face card may be the 10S and the next card the 2c. Double cut them to the top of the deck so that now the 2¢ is the top ~1085- card of the face-down deck. With the deck still facing you spread the cards, looking for the 28 and 10C (the mates of the top two cards of the pack) Put the 2S on the face of the deck and the 10¢ behind it. Dou- ble cut these two cards to the top of the deck. The result is that the deck is arranged, from the top down, 10C-25-2c"10S-twenty six red cards, twenty-two black cards. Table the deck. 3. You can begin the trick by false shuffling the deck. A simple overhand false shuffle is sufficient. After the shuffle, ask the spectator to cut off about half the cards and hand then to you. Take them with your left hand. To insure that he cuts in- to the red packet but not too deep so as to cut into the black packet, ask him to give you less than half the pack. Grasp the packet he gives you from above with the right hand and place it on the table. The left hand then places the balance of the deck aside. i ti !4, Ask the spectator to cut off about half the packet you have just tabled. When he does this, instruct him to give you the portion cut off. The packet in your left hand now con- tains the four black set-up cards on top of "x" red cards. You propose to make a prediction. Place the top card (10C) of your packet face-down on the table. The spectator is in- vited to drop a card, sight unseen, from his packet onto your prediction. 5. You now tell him that he will make a prediction. As you ex- plain what you want him to do, spread your cards slightly. In squaring them up, get a left 4th finger break under the top three cards, As you do this, say, “Spread your cards face-down.De~ cide on one, sight unseen, and drop it face-down onto the two tabled cards." After he does this, you Lift off the top three cards of your packet as one and place them onto the tabled cards. The three-as-one should be lifted from above by the right hand in the Biddle grip. when the 3-as-1 has been dropped onto the other cards, take the left-hand pac~ ket into the right hand. Give it. to the spectator and ask him to place it on his packet. He is to square up the assembled tabled packet. Once you have given him your packet, the right hand scoops the tabled predic— tions and selections into the left hand. 6. You are going to recapitu- late, and in so doing will work back- wards, placing a card down as you make each point. The reassembled pac ket is on the table, face-down. You are holding six face-down cards in your hand. From the top down the or- der is, 28-20-10S~red-red-Loc. "I made a selection.” As you say this, flip the 2S face-up in your left han and then take it with the right hand. ‘The card is taken from above in the Biddle grip and placed face-up in position D in the diagram below. "You made a prediction.” The xight hand lifts off the 2c face~ down from above and places this card at position C. “You made a selection." As you -1086- flip the 10s face-up in your left hand, the right hand approaches from above. Just as the right hand takes the 10S, the left middle finger buckles the bottom card so that the right hand can lift off three as one (face-up 108 over two face-down red cards). The right hand places the ‘thrae-as-one onto the packet at B. This is the clean-up and note that it occurs long before the end of the routine. -And I made a prediction.” ‘The right hand lifts off the Loc face-down at position A. A B € D ‘area 2s joc pa ao Heace eres face| | face ot ere up down 7. You now pick up the 10s at the inner index corner in the right hand, and the face-down loc in the left hand. Comment on the fact that the odds against a match are stagger- ing. Then turn the 10¢ face-up and set the matched pair of 10's face-up in front of the packet. DO NoT set the cards back on the packet. Keep a~ way from it. 8. "Now I selected the 2S.You made a prediction. Tf your predic~ tion were to match my selection, that would be devastating. Your predic- tion is... (Pause, let the expres~ sion of expectation vanish from your face; look dismayed) Oh nuts!...(Now ook up and smile) A black two. Set the matched pair next to the matched pair of black tens. 9. “The real miracle is this.” Turn the packet face-up and spread it to show that the selections and pre- dictions were the only black cards in an otherwise all-red packet. Notes And Reflections (A) The strengths in this rou~tining are that the spectator handles the deck more than in the original. Most importantly, the clean-up is o- ver and done with long before the climax of the effect. Also, the Jor- dan count and Ascanio Spread in the original have been eliminated. (B) The "all red kicker" may seem superfluous. Tf so, take a shuf- fled deck, spread it with the faces toward yourself and look for the mates of the two top cards. Move them to the face of the deck and then cut the two cards to the top. The order of the top four cards will be A-B-B-A. Pick up the routine at Step 3 and end with Step 8. (C)_T have also worked out handlings for matching four pairs of cards ala Synbologic. The Slydini Palm This is a utility palm used by Slydini. the palm allows you to con- ceal one ring while displaying an- other between the tips of the first finger and thumb of the right hand. When Slydini does it, you can swing the right hand at the wrist to show the visible ring on both sides. The concealed ring is never seen. ‘The palm is not the same as -1087- tho familiar palm where a coin is held at the edges and another coin hidden in Downs palm position. Fig. 1 is a top view showing the relative position of the two ring. Fig. 2 is a view from the front. this is how the audience sees the hand as the hand is rotated at the wrist. Fig. 3 is an exposed view of Fig. 2, showing the position of tie concealed edge-palmed ring. Using the Slydini palm, you can secretly thread a rope or string ‘through the hidden ring while openly displaying the rope. There is an un- usual application to a trick where a lock is shown, opened and closed, and then a ring or key appears linked on- to the hasp. Of course the method is to display the lock, open the hasp,then, in handling the lock and clos~ ing the hasp, causing the palned ring or key to be locked onto the hasp. Boum The pain is also useful for tricks using Chinese coins, and even routines where the object visibly dis- played is a card, a hank, or a wand. STILL COUNTING ‘The current interest in small packet tricks prompted the publication of these two routines, Each introduces a novel technique. In the first rou~ tine a method is given for placing a card into a packet and inmediately causing that card to reverse itself. The second routine is a bit more off- beat; a group of 6 cards is shown to be all red by a technique that can fairly be described as "different." ‘hen one xed card (spectator's free choice) changes to black. Factor Four ‘The spectator removes four random cards from the deck. He dis cards three of these cards and keeps one. Say the card he chooses is the 40. The 4p is fairly inserted face~ down into the packet of indifferent cards. Immediately the 4p turns face- up. ‘The face-up 4D is again insert~ ed into the packet. Tt changes to a Jack. Then the entire packet changes to Jacks. Finally, one Jack reverses it~ self and ; changes back to the 4D. No gimmicks. Method: Prior to performance place a Jack face-up on top of the deck. Then Place two other Jacks face-down on top of the reversed Jack. 1, Spread the deck face-down. Have the spectator remove four random cards an@ place then face-down on the table. 2. Ask him to eliminate three of the cards. As he does, square the deck and secure a break under the top three cards. 3. Take each card he doesn't want, turn it face-up and place face~ up on top of the deck. 4, when there is one card re- maining, have him look at it. While he does, lift up the cards above the break and turn them over onto the deck. This switches in the three Jacks. 5. Lift off the top three cards from above with the right hand. Put the balance of the deck aside. -1088-6. Tell the spectator that you can find his card by a process of simple deduction. Take his card and drop it face-down on top of the pac~ ket. (Actually it goes facedown onto a face-down Jack. Under this Jack are two face-up Jacks) 7. Hold the packet in the left palm. Curl the fingers around the pac- ket. ‘Turn the left hand palm-down and push the packet through the fingers using the left thumb. Take the packet, as it emerges from the hand, with the right hand. You have, by means of a familiar flourish, turned the packet over. 8. Elmsley count, upjogging the reversed card as you come to it. Say, "I look for some slight anomoly that catches my eye. This usually tells me what card you took. In this case..." Pause, completely overlook the fact that the selection is face- up, and say, ".,.a microscopic scratch on this card tells me you probably took the 4D." Here you =. ae the face~ up card, 9. Romove the face-up 4D with the right hand. The left forefinger buckles the bottom card of the packet slightly, just enough to open up a break. The move need not be concealed. 10, Insert the face-up 4D into the break. Square up the packet. The 4D is face-up and third from the top of the packet. 1. “It's not altogether that easy to Figure out which card you took. Sometimes the clues are mis- leading." Elmsley count, showing that the 4D has changed into a face-up Jack. Place the last card of the count under the packet, and, as be~ fore, upjog the face-up card as you count it. 12. Remove the Jack, turn it face-down and place it on the bottom of the packet. 13. “sometimes there are no clues at all." Flip the packet face- up and ElmsLey count to show all -1089- Jacks. Place the last card of the count on the bottom of the packet. 14. "But usually there's that tiny clue that can only be picked up by the trained eye." Count the cards fairly from hand to hand. Upjog the reversed card. 15. "Was your card by some slim chance the..." Pause, then name the card, then turn the reversed card face-up to show that it's the 4D. Indenti-Kit Rather a strange trick, this. From a group of six red cards you pick up four and show that two of the cards are red 2's. Then, using another combination of cards, you show that two of the cards are red 8's, Pinally, you show with another combination that two of the cards are red Kings. All of this is done openly, merely to show that the six cards consist of two 2's, two 8's, and two Kings. You ask the spectator to indi- cate whether he wants the 2's, the 6's or the Kings. There is no force. Whichever he names, say the rea 8's, you cause one of the 8's to change into a black 8. This may seem a long way to| | | | go to achieve a relatively simple ef fect, but there are interesting ap- plications to gaffed cards. 1. Start with this 6-card set up: a red 2-8-King, followed by a black 2-8-King. 2. Hold the packet face-down in IH dealing position. Deal off the top card and place it onto the table Place the next card on top of it. 3. whe left thumb ‘pushes off the next two cards. Don't reverse their order. Take them as a unit and place them onto the tabled cards. 4. Put the balance of the paca ket onto the table. Pick up the four card packet. 5. Turn the packet face-up and zlmsley count, pointing out that the packet contains two red 2's, 6. Drop the packet on top of ‘tthe two tabled cards. Pick up the six cards From above with the right hand. 7. The left thumb pulls the top card of€ the packet. This card is then placed on the bottom of the packat. 9. Repeat Steps 2 thru 8 to show that the next group of cards con~ tains two xed B's. 10, Repeat Steps 2 thru 8 to show that the next group of cards con- tains two red Kings. 11. Ask the spectator to think of a Two, an Hight, or a King, Tell him that when you have two of the thought-of cards in the packet, he is to say stop. 12. Repeat steps 2 thru 5, show ing that you have two red 2's in the packet. If he tells you he was think- ing of the Two, proceed as follows. 13. Turn the packet facedown. Turn the bottom card, a Two, face-up and place it on top of the packet. then deal the bottom card (a King) and the next bottom card (an Eight) aside. 14. Place the face-up two under -1090~ the remaining card so the two cards are face-to-face. Pause, then turn the top card face-up, showing that the red ‘Two has changed to a black Two. Note that if, in Step 12, the spectator does not say he was thinking of the red Two, proceed with Steps 6, 7, 8, then Steps 2 thru 5 again so that the packet contains two red 8's. If he was not thinking of the red 8, proceed with Stops 6,7,8, then Steps 2 thru 5 again so that the pac- ket now contains two red Kings. In either case, once the packet contains two cards of the spectator's choice, you proceed with Steps 13 and 14 to cause his card to change from red to black. LOOKING GLASS POKER If you intend to open a series of card tricks with a four-Ace effect it is more impressive to magically produce the Aces than to simply re- move them from the pack. This is an offbeat method of producing the Aces, Most of the action takes place with the deck in the spectator's hands.1. Secretly stack the Aces as follows. On top of the deck place a red Ace. Place a red Ace on the bot- tom of the pack. Then place a black Ace on top of the deck. Take the oth- ex black Ace, turn it face-up, and place it on the bottom of the deck. 2. To present the trick, put the deck face-down on the table. Ask a spectator if he ever heard of Looking-Glass Poker. Chances are that he hasn't, so you elaborate. 3. "In Looking-Glass Poker ev- erything is reversed. vor example, in- stead of dealing the cards, Looking Glass Poker players cut them." 4, Invite the spectator to lift off about a third of the deck, turn it face-up and drop it on top of the balance of the deck. 5. When he has done this, say, “That's called an un-cut. There is al- so something called the reverse un-cut that's often used." Now have the spectator lift up about two-thirds of the deck, turn it over and place it on top of the balance of the deck. THE CHRONICLES e set eet ol +82.00 Single Issues.. Tricks, ideas, news, notes, and letters are welcome and should be sent to the address below. Non-subscribers can obtain a free catalog on request. Address all mail t Karl Fulves P.O. Box 433 Teaneck, New Jersey 07666 Phone: 201-427-1284 =1091- 6. "In Locking-Glass poker ev- erything is reversed. You turned most, of the cards face-up, but it happens that most of the cards are face-down. Pick up the deck and place it into the left-hand dealing position. 7. The left thumb pushes off a- bout eight or nine face-up cards. Put these cards face-up on the table in a heap. 8. Fan over the remaining face- up cards. There will seldom he more than 8 or 9 more. With the cards in a fanned condition, get a break under the top face-down card of the deck. 9. Square up the face-up cards against the heel of the left thunb. ‘The right hand lifts off all the cards above the break and places them on the face-up tabled heap. 10. Fan the balance of the pack between the hands to show that most of the cards are indeed face-down. 11. Square the face-down pac~ ket, cut half onto the table, then put the balance on top. 12. "In Looking-Glass poker the face-up cards influence the face~down cards." Pick up the face-up packet and tap it against the top of the face down packet. Then put the face-up pac ket on the table to one side, still face-up. 13. Spread the face-down pac- Ket. A face-up Ace shows in the cen= ter. Remove this card plus the card on either side of it. 14. Put the face~down packet aside. Pick up the black Ace and the facedown card on either side of it. “zverything attracts its opposite in this game. Black attracts rea," Turn the face-down cards over to show that they are the red Aces. Put the three Aces aside in a face-up fan. 15. “IE face-up cards influence face-down cards, we can reverse the process." Pickup the face-down pac- ket, tap it against the face-up pac~ ket and place the face-down packet off to one side. 16. Spread the face-up packet on the table to reveal a facedown card in the center. Remove this card and show it to be the fourth Ace.(SLO-MOTTON ITT: Cont'a from pg. 1094) 6. The hands are now brought up with the backs to the audience as depicted in Fig. 6. You are apparent ly holding an invisible half-coin in Seo ep each hand. The routine now shifts to the Freeman/Dingle routine in The Pallbearers Review, pg- 760, Step 5. For completeness, the routine is out ined here. % © Sohne 7. Note that in this handling, since you are working with an Ameri- can penny, the handling is much easicr and better protected from angles. fo bring about the apparent vanish, be~ gin by ehifting the small penny to a thumb-palm position as shown in Fig.7. 8. The hands come together and the coin is taken by the right thanb & Ist finger, Fig. 8. The right hand now turns palm toward the audience,Fig. 9. At the same time the left 1st finger and thumb slide to the left, over the edge of the coin. When the thumb & Ist finger are clear of the coin but still in contact with the tips of the right thumb @ Ist finger, pause for a sec~ ond ag shown in the drawing below: ite a 9. Move the LH to the left and rub the thumb 6 Ist finger together to emphasize that the coin is gone. You are now going to put the coin together again from the invisible atoms. The left thumb moves to the back edge of the coin, Fig. 10. 10. The left thumb pivots the coin around to the front of the right hand, in the direction of the arrow in Fig. 10. Simultaneously the right hand revolves down, back of the hand to the audience, Fig. 11, until the hands reach the position of Fig. 12. 11. Bring the fingertips to- gether so they touch, Fig. 13. Then push the coin up to the position shown in Fig. 14. (cont'd bottom next @:3¢) -1092-Harvey Rosenthal MRCUT ‘This cut can be used as a flourish o as a controlled cut.only ‘the basic mechanics will be describ- ed in this write-up. 1. Hold the deck in left-hand dealing position. The left thumb xiffles down to about the midpoint of the deck and opens up a break. 2. The right hand moves to a position over the deck and lifts off all cards above the break. 3. The left little finger now pulls down about half of the left-hand packet. At the same time the right forefinger lifts up about half of the right-hand packet. the situation is shown in Fig. 1. 4. The upper part of the xight-hand packet moves into the break in the left-hand packet, and the lower half of the right packet moves under the left-hand packet. The situation is shown in Pig. 2. (SLOW NOTION ITT: Concluded) 5. The cards are then given a square-up and the cut is comple ted. You can alter the handling so that the upper half of the right- hand packet goes above the left~ hand packet and the lower half of the right-hand packet goes into the break between the halves of the left-hand packet. @ This cut can be used to set up a red-black shuffle. A complete~ ly false cut using this handling is also possible. Mr. Rosenthal has several applications and altered handlings that may get into print in the near future. CLOSE-UP FOLIO Close-tp Folio #11 deals exclus- ively with dice tricks. Contributors are Jeff Busby, Bill Scott s Henry Christ. Price $3.50. Order direct from your dealer or from Karl Pulves Box 433, Teaneck, N.J. 07666. whe key to the success of this routine is to perform it in a smooth, unhurried way, but with no hesitation. Done casually, it appears that the coin melted into thin air and then just as mysteriously re-appeared. -1093-Ss ay Sain ae Ken Krenzel Derek Dingle SLOW MOTION II Discussion of the various slow- motion coin vanishes that appeared in The Pallbearers Review resulted in the development of this routine. In effect an English Penny is caused to vanish. The hands are convincingly shown to be empty. When the coin is reproduced, it has shrunk to the size of an Amer~ ican penny. As to who contributed what; the tearing action depicted in Fig. 3 and 4 were suggested by Ken Krenzel. The sleeving of the large Penny was the idea of Derek Dingle. The angle of us- ing the small penny and its subse- quent production was made by KP. 1. Start with an English Penny in the left hand, an American penny under it as shown in Fig. 1. 2. Bring the hands together. Grip the coins as shown in Fig. 2. ‘The hands are horizontal to the floor so that only the face of the English Penny is visible to the audience. The american penny behind the large coin is concealed from view. 3, The right hand now shifts it position or grip on the coin to that indicated in Fig. fingers on top, 3, first and second ‘thumb below. Schmipy 4, You now pretend to “tear” or rip the coin in two. The right hand moves sharply downward and the left moves to a palm-down condition. The ap- parent result is that each hand holds Semeaco or half of the coin. Tn hand holds the coin. action the left hand hind the right hana, coin is clipped in a palm position. 5. The right hand moves down- ward and deposits the clipped coin in- to the left jacket sleeve, Fig. 5. This excellent move, suggested by Derek Dingle can also be used in the standard versions’ of the slow-notion penton (cont'd on pg. 1092) -1094- fact the left in a continuing moves the coin be- Fig. 4, where the right rear thumbTHE No.4 THRONICLES copyeight ©) 1978 by Kart Paves his is an aston- ishing transposition. Tt as as clean and mystifying a passe effect as could be desired. ODD COIN The magician then lets the coin drop onto the other coins in his right hand and closes the hand. Displaying the odd coin in his right hand gives time for a secret move with the left hand. The left hand turns fingers down and back outward. The two coins are held between the thumb on one face and the middle finger on the other side until the third ana forefingers grasp the coins, one ‘on each edge of the coins. whe spectator is given five half dol- lars. The magician then holds his own hands in front of him palm up. ‘The spectator is instructed to place three coins on the magician's left palm, the other two coins on his right palm. The spectator does so. “ghree and two," emphasizes the performer, indicating each hand in turn, “And this is the odd coin." So seying, with his right thumb and forefinger the magician picks up one coin from his left. hand and holds it up displayed in front of him, Fig. 1. Figure 2 is a view from the bot- tom showing how the coins are held. The thumb moves off the coins to its normal positionalongside the forefinger, and the three fingers holding the coins nove them firmly and securely a- gainst the heel of the hand as the ao hand closes. If you y check Fig. 3 on the next page, you will see that the coins are now outside the closed fist. this is th Key to the move that secretly accon- ~1095-plishes the transposition. ‘The right hand opens to show a- gain its three coins, then closes and turns knuckles outward like the left hand. Now both arms are extended down- ward so the magician is holding his fists one in front of each leg, about six inches apart. “Romomber, three in the right hand..." As he starts to speak he turns his right fist around, fingers outward, and swings it a few inches to the right. At the same time the left hand al- 50 moves a few inches to the right (but knuckles still outward), the thumb extent ed to the right, pointing to the right hand, Fig. 4. -And two in the left hand." Saying which, both hangs turn and move swiftly to the left. The right hand Moves faster than the left so they meet for an instant in the center of the body as shown in Fig. 5, The two coins outside the left hand are snatched and clutched between the tip of the right forefinger and heel of the right thumb. The transfer is in- stantaneous, noiseless, and indetectable. The hands continue their swing ané end up in exactly the same position to~ ward the left as they wore a moment be~ fore toward the right. This time it's the right thumb that extends and points to the left hand. You've Just finished saying, "...two in the left," and both hands now swing to the original positions knuckles outward, one in front of each leg. "watch," you say, and each fist is jerked forward about an inch and then back. The right fingers open slightly and the hand movement allows the two sec- retly held coins to fall inside the fist and be held with the others. rt is impossible to discern that the clinking of coins comes from one hand only. "Which hand has the odd coin? ‘The right? Hold out your hand." ‘The magician pushes out one, then another coin from his closed right fist. ‘Then he opens the fist to reveal all the coins in the same hand. Inmediately the left hand is o- pened to show it empty. "That's odd, isn't it" CHRONICLES BB al Single Issues.....$2.00 Tricks, ideas, news, notes, and letters are welcome and should be sent to the address below. Non-subscribers can obtain a free catalog on request. address all mail to: karl Fulves P.O. Box 433 ‘Teaneck, New Jersey 07666 Phone: 201-427-1264 -1096-THE LAZY GAMBLER (Some years back I had proposed a poker problem where the gambler's hand started out as an indifferent hand, faco— up. Tt turned facedown, then face-up a~ gain, but in the process the hand improv- ea. Sam Schwartz (The process continued; each time the hand turned face-down and then face- up again it had improved in value. at all times the cards in the hand were black. On the final round the hand changed to a Royal Flush in red. The only provision was that ordinary cards be used. Although I devised several solutions, they were as nothing compared to the Sam Schwartz handling described here. KF) grasped from above by the right hand in a Biddle grip. 4. The left thumb pulls single cards from the face of the packet. this i¢ known also as reverse counting. Reverse count the five face-up cards into the left ro! vaasiae Place the AH face-dow hand. The final card is really three face on the table. Place the KD face-down on goyn cards handled as one. Place this top of it. Place the 20 face-up on top of 1%,’ aoe ock as a unit onto the left-hand cards. the King, then the JH, 3S, 10D, and 4c, plea tonetehiunmedeed all. facesup. The right hand re-takes the packet from above in the Biddle grip. The left fin- On top of the face-down deck you J@FS slide the bottom card (4c) to the have the 108, followed by the JD, Qd, ad. 1eft. The left hand turns this cara face The handling of the routine is then as down and places it into the left jacket follows. pocket. 1, Hold the 7~card packet face-up 5. You're now going to perform an in the left hand so that the 4C shows. Omega Count to show that all five cards Push cards to the right so that the audi- have suddenly turned face-down. To per- ence can see five face-up cards in a form the count, take the top card into spread. Remark, “Not much of a poker hand. the right hand on the count of "One. Almost anything will improve it.” ‘he right hand then slides this card un- der the left-hand packet. As the right 2. Square the cards. Take the top hand moves away to the right, the right face-down card of the deck. Place it on thumb pulls the top card of the packet the bottom of the packet. You now have 3 to the right. This card is taken on the face-down cards on the botton of the pac- Count of "avo." ‘The count of 2, 3, 4, 5, ket. is in fact the action of the Elmsley count. 3. "the gambler now had six cards. He had t0 get rid of one." The packet is 6. As the cards are counted, re- -1097-mark that the gambler liked to read the marks on the backs of the cards, but he didn't like having to turn the cards face-down to read them. Perform the count. to show that the five cards turned them- selves face-down. At the conclusion of the count, turn the last card face-up. It will be the AH. Having read the backs of the cards, the gambler commanded the cards to turn face-up again. The left fingers contact the bottom of the packet and pull. four face-up cards out in a spread to show that you hold the LOD-3S-JH-20-AH. The left hand takes the four face- up cards and places them on top of the AH as you say, "Some improvement." 7. Now repeat step 2. 8. Repeat Steps 3 and 4. Place the 2p into the left jacket pocket. 9. Repeat Steps § and 6. You will have turned the 105 face-up, then back spread the other four cards and placed them on top of the 10S. The face~ up cards will be the 10S-J#-35~10D-AH from bottom to top at this point, the poker hand will have improved to the point where now it contains one pair. 10. Repeat step 2. 11. Repeat Steps 3 and 4, pla~ cing the AH into the jacket pocket. 12, Repeat Steps 5 and 6. You will turn the JD face-up. After the back-spread, and after the four face~ up cards are placed on top of the JD, the face-up cards will be the JD-LOD- 38-JH-108. ‘The hand now contains two pair. 13. Repeat step 2. 14, Repeat Steps 3 and 4, but this time, when the right hand has tak- en the packet from above in the Biddle grip, the left hand grips the packet. from below. ‘The right thumb allows three cards to be released. These three are taken as a unit by the left hand and placed face~down into the left jacket pocket. 15. Use the omega Count to show that the five cards have turned face- down, Do not turn the last card face-up. 16. Triple lift and turnover, re~ vealing the AD. Then deal the cards into 4 face-up row on the table to show a Royal Flush in Dianonds. Note; in order to point up the sudden appearance of the Royal Flush at the finish, use the AC instead of the AH, the 2C instead of the 2D, and the JS in- stead of the JH. By making these changes, the poker hand appears predominantly black until the final, sudden, appearance of the Royal Flush in Diamonds. Frank Garcia’s BOTTOMLESS GLASS Many know of a gag where the mag~ ician pretends to knock the bottom out of a borrowed drinking glass. It is funny sight bit, but it lacked’a logic- al conclusion. Frank Garcia once sug~ gested an ending that is strong and vis- ually effective. Taking the original gag together with the Garcia ending, you will have a perfect combination. Needed is a glass disc of a size approximately the same as the diameter of an ordinary drinking tumbler. A disc about 2-3/4" is close enough. You can ob~ tain such discs in magic shops that car- ry such apparatus in conjection with the vanishing glass (the disc is concealed in a hank), 1. Start with the glass disc in ~1o98~the palm. Tt is assumed you are perform ing the gag at someone's home, or in a bar. TE you are a guest at the home of a friend, borrow an expensive glass. ‘Then load the disc onto the outside bot- tom of the glass. 2. Hold the disc in place with the little finger of the hand holding the glass. The other hand then picks up a knife, 3. Place the knife inside the glass, Fig. 1, and tap the inside bot- tom as you say, "You can always tell good crystal because of the distinctive ring, re GLASS Disc, 4. Continue tapping the botton of the glass with the knife. then, as if you tapped too hard, release the glass disc, Fig. 2. You will have created a perfect visual illusion that you tapped the bottom out of the glass. 5. Act startled. Put the knife down. Apologize the ruining an expensive piece of crystal. Pick up the glass disc with the free hand, but in so doing, lap it, Pig. 3. Discis LAPPED IN + APPARENTLY PICKING IT UP. 6. The hand is now raised to the lips. Pretend to wet the glass disc with the tongue. The hand then slaps the ap parent isc onto the bottom of the glass again, Fig. 4. 7. Say, "When that dries it will be as good as new again.” Carefully set the glass down on the table, The asson- bled guests will marvel at the way the bottom of the glass now forms a seamless fit. setnior GLASS 1s APPARENTLY RESTORED. (@ variation I've used is this. Load the glass disc plus a dime to a pos- ition under the glass. Openly drop a dime into the glass, saying that customs inspectors use this method for detecting fake crystal. (Tap the inside bottom of the glass with the knife. Do this a few ‘times, then tap the dime. Tt makes a dis~ tinctly loud noise. at the same time al- ow the disc plus duplicate dime to fall onto the table. (Tt appears as if the bottom of the glass, plus the content of the glass, has fallen to the table. Pick up the disc plus the dime and lap them, Pretend to slap them back onto the bottom of the glass. Then dump out the dime. KF) ~1099-George Sands ve REVERSE BANK NITE “#8 The George Sands name has long been synonymous with original ideas. His "Lucky 13" on pg. 1035 was no ex- ception. When it appeared, dozens of letters were received, all in praise of this clever idea. In the following article mr. Sands enlarges on the bas- ic premise. Preparation is simple. You will be using 5 small, bank size money en- velopes or pay envelopes. One is mark- ed secretly so that you can recognize it. Borrow the largest denominatia bill you can from a spectator. Insert it into the marked envelope. shuffle the envelopes go that the spectator doesn't know which envelope contains his bill. Number the envelopes, using the numbers 1 to 5. The number $ goes on the marked envelope. Place the envelopes on the tab- Je or clip them to a cardboard easel or board so they are arranged in the order shown here. 1 wy we Q2 You're going to eliminate four of the envelopes by a completely ran- dom means. If the spectator is lucky he will get back the envelope con- taining his bill, Suggested Patter Lines: write your name on the bill. The reason I have you do so is so that when T go home tonight T'd like to know who gave At to me. Or: Tear a corner off, so that when you go home tonight you'll know you once owned the rest of it. Or; Write the serial number down s0 that you can go to the police and tell them the exact bill you once possessed. Presentation: Today our economy is so high that money deposited or in= vested either sis cashed in at a later date at a loss or for a break-even. You have just deposited your money.You may cone out even or you may lose out. Definitely you won't make a profit. Ask the spectator to point to an envelope. Tf he points to the #5 en- velope, burn all the rest. I don't have to detail any of the delivery here. If the spectator points to any other envelope, pick it up and burn it, According to the number on this enve~ lope, count in a clockwise direction and arrive at the next envelope. Burn it. Tn turn, the number on the en~ velope just burned tells you how many Places to count to arrive at the next envelope, and this envelope tells you the next envelope to be burned. The end result is that you'll be left with the #5 envelope. Open it and return the bill to the spectator. ‘The principle is the magician's choice. There are only two choices: oither #5 is the first choice or #5 is -1100-a last choice. This is the same prin- ciple as described in the article on pg. 1035. Brine Choice ~ E.S.P. Preparation: tear a piece of papor into six parts. Write a pre~ diction on one piece. We'll say that you are going to use this in an ESP context, so you would write down an an ESP symbol as your prediction. Note that you can write any one of the Five ESP symbols as your prediction. You can even have a spectator suggest one of the symbols. Fold the prediction and give it to someone to hold. Now openly draw an ESP symbol on each of the five remaining pieces of paper. Fold each slip, but keep track of which one contains the symbol that you predicted. on a large piece of paper write the numbers from 1 to 5, using the clock=type layout shown earlier (that is, the numbers are written 1-3-5-2-4 going clockwise) . Place a symbol on each number. ‘The symbol that matches your predic- tion goes on #5. Four of the slips are elimina~ ted as described in "Reverse Bank Nite." Por clarity we will take a specific example. Say #1 is chosen. Destroy this slip. Count over "one" from the position of the #1 slip and you arrive at the next slip, in this case #3. Destroy #3. Now count over 3. You will arrive at the #4 slip. Des- troy it. Count over 4 (including the spaces where $1 and #3 were). You'LL arrive at #2. Destroy it. Only #5 re~ mains, and it matches your prediction. Another example. Say #3 was the first slip chosen. Destroy it. Count 3 spaces and you arrive at #4. Destroy it. Count 4 spaces, including the emp- ty space left by the vacant #3. You arrive at #2. Destroy the #2 slip. Count 2 spaces, including the #4 va~ cancy and you arrive at #1. Destroy it. You are left with #5. One other arrangement that will work with the numbers 1-2-3-4-5 is to place the numbers in numerical order. Tt is easy to work this through using a packet of cards arranged in 1-2-3-4~ 5 order. Have the spectator cut the packet and complete the cut. Turn up the top card of the packet. Say it is a 3-spot. With the face-up 3 on top of the packet, transfer 3 cards from top to bottom. Turn up the new top card. What~ ever its value, leave this card on top of the packet and transfer this many cards from the top to the bottom of the packet. Continue this procedure until you are left with a single face-down card. Kt will always be the 5-spot.You can of course achieve a similar end result with five cards where you spell out words, transferring a card for each letter. | LETTERS From Bruce Barnett: T had some other ideas with the Isis slate concept (pg. 1072). Instead of drawing two lines, it is possible to draw one and place another object on top. one thought I had was to have four people each select a digit at random. Each is to concentrate on his number and draw one line on a slate or pad. The mental impressions should be so strong that a random line drawn will give the mentalist psychic vibra~ tions. -1101-Needless to say, the last per- son is an accomplice. He draws one Line according to the code, and puts the pencil on top for the second line. ‘The line he draws codes the first two digits. The pencil point indicates the third digit and the eraser points to the fourth digit. An alternate idea is to cut a piece of paper in half, give half to a spectator, then have the confeder- ate place the scissors on the other piece of paper for the code. (another idea on the Tsis slate is to draw one line on one side of the slate and another Line on the oth= er side of the slate. Hach line codes two digits. The reason for writing or drawing a line on each side is that you want both sides of the slate sign- ed. Bach spectator signs his name on the indicated line. Tf the rows of digits are pencilled around the peri- meter of each side of the slate, you double the number of possibilities. This means that you can, by means of two lines, code any word in a 40,000 word dictionary. (You can substitute letters for numbers Lf the intent is to code a word. The details are too lengthy to go into here, but you can, by means of ‘the alphabet code, indicate the last four letters of the chosen word in any dictionary, and also whether the word is on the right or left hand page, and also whether the chosen word is in the left or right column on that page. You can do all this just by drawing two lines on the slate. KE) CLOSE-UP FOLIO Close-Up Folio #11 deals exclus- ively with dice tricks. Contributors are Jeff Busby, Bill Scott @ Henry Christ. Price $3.50. Order direct from your dealer or from karl Fulves Box 433, Teaneck, N.J. 07666. NOTES A continuing problem facing mag- azine editors has to do with the fact that many readers find it impossible to visualize a routine as they read it. Perhaps for this reason, printed ideas tend to be dismissed as impractical be- fore they are tried. ‘The other side of the coin was neatly summerized by Jerry Fulton: "ALL the effects you might read are untried until You try them." The classic barrier regarding magazines, and the reason why they will never achieve universal popularity is the need to actually read the magazine in order to get anything of value from it. This hurdle may be overcome in the hear future; Goodliffe has announced the release of magazines in cassette form, Years ago in Epilogue I descri- bed the possibility of issuing a filmed description of certain moves, but it never occurred to me that film is only half the answer; people would prefer that scmeone read to them. Cassettes may provide a way out. ‘The cartoon down below was sent in by a certain magical monk and former living legend. [A FAT LOTTA GOOD IT 2088 To 62 A FULL- TIME LIVING LEGEND WHEN YOU'VE GOTTA / SEER ITA SECKET / ALL YOUR LIFE! -1102~(LINKING PIN Moves; Cont'd from pg. 1104) Close the left-hand pin. The pins are linked together in such a way that to unlink thom seems impossible- @ # To unlink, the right hand moves its pin to the right until the curl is ajacent to the open side of the head. The left hand holds its pin firmly in place as the right hand turns its pin in toward the body and continues to rotate the pin up and avay from the body over the top of the left-hand pin. ‘The right-hand pin is rotated 1/2 revolution around the left-hand pin. If done slowly, you will see the curl of the right-hand pin pull the bar of the left-hand pin out of the head. The right-hand pin is now pulled to the right and off the bar. The curl end of the right-hand pin should come free just ahead of the body of the pin. The sides of the pin will aid in guiding the open bar of the left-hand pin back into the head so that both pins remain closed at the completion of the unlink. When performing, use a little up and down motion of the hands to cover the un link as it is visible if done slowly. Curl only Link Insert the pin point of the open left-hand pin through the curl of the right-hand pin. Insure the right hand pin hangs freely and is linked by the curl only! Note that the head of the left- hand pin does not go through the middle of the right-hand pin as in The Inpossib- le Curl Link. The left hand holds its pin firmly well up on the curl end with the open side of the pin up. The right hand also holds its pin fizmly and well up (about half way) on the head end. Now with a firm grip, pull’ the pins apart as if doing Piff Paff Poof ex cept that the right hand should pull straight out and not down. The pins should unlink and remain closed. ‘The pressure of the left finger should be maintained to insure the left~ hand pin bar snaps back into the head when the right-hand pin is pulled off the spectator's side of the left-hand pin. ‘The right thumb likewise maintains pressure when pulling the right-hand pin off the performer's side of the left-hand pin. -1103-This is a series of excellent techniques for linking ang unlinking two safety pins. There are no gimmicks, ali that is needed are two ordinary pins. Head Link ‘he left hand holds its pin by the head end. The right hand holds its pin by the curl end with the open side of the pin up. As the right hand pulls its pin to the right, the bar of the left-hand pin is forced under the head of the pin in the right hana. aS As the bar begins to slip under the head, the left hand angles its pin a if to right angle the right hand pin. The left hand moves to the right. The left- hand pin bar should snap inside the head of the right-hand pin, resulting in an "impossible" Link of the pins. The spec tator will not be able to unlink the two pins without force. Note: practice on the open side of the left-hand pin for ease in unlink- ing. When performing, do the handling with the back bar of the left-hand pin. To unlink from "Head Link," re- verse the left-hand pin so that you hold it by the curl end. Use the right thumb to push against the head of the right- hand pin to "pop" the bar out of the head of the pin. Then unlink the pins by doing the Piff Paff Poof move. Impossible Curl unlink Start with the left-hand pin open. Insert the point of the pin through the curl of the right-hand pin and head of the left-hand pin through the middle of the closed right-hand pin. (Cont'd on pg. 1103) ~1104~