THE No. 13 CHRONICLES copyright (©) 1979 by Kaxl muaves Effect by Karl Fulves, method by Derek Dingle. More specifically, I call ed Derek and said, "I've got an ef- fect." A few minutes later he called back and said, "I've got a method. Here is the result: The magician deals out three hands of draw poker. Turning up the dealer's hand, he shows that he has dealt himself the four Aces. The audience is not impress- ed since the magician obviously could have had the deck stacked to deliver the Aces. ‘The magician says, "Let's get rid of the Aces and deal out an honest round." He visibly places the four-Ace hand onto the deck and cuts the deck to lose the Aces. There are now two other hands on the table. The magician gathers these one on top of the other. He then deals out tvo poker hands, one to himself and one to the spectator. When the magician turns over his own hand, He still has the four aces! Clearly an awkward situation. The magician openly places the four-ace hand on top of the deck and cuts the deck to lose the Aces. There is now a single poker hand on the table. The magician picks it up and deals out two hands. The spectator gets three cards and the magician two cards. Derek Dingle & Karl Fulves Picking up his hand, the magician says, "Since I have only two cards, it is impossible for me to get the four Aces. So I'l] have to settle for a Royal Flush." As he says this, the magician turns his hand face-up. He has five cards now and the five-card hand is indeed a Royal Flush in Spades. No gimmicks or duplicate cards. You start clean and end clean. Deck may be used for other tricks following this one as there is nothing to get rid of. ‘This version does require some man ipulative ability, but once the direction of the effect is clear, other avenues will present themselves.Thus, as the cup is lowered over the two dice (the cup contains a die and a coin as in Fig. 2), the shell is forced to slide down over the bottom die, The situation is now that you have Under the cup two dice with a coin be- tween them. Proceed from here with the balance of the routine as described in the first method, Third Method The idea here is to oliminate the handling of Fig. 2 using the palmed die in the left hand. To accomplish this, start with 3 dice in the cup as shown in the drawing here. You then allow the bottom two dice to drop out of the cup in Fig. 2. the balance of the handling is the same as described earlier. Peatures from each method can be com bined to produce an almost self-working combination. Thus, in the drawing above, the two bottom dice consist of a straight die and a shell. You dump these two dice out of the cup, retaining the coin and third die inside the cup by Pressure against the outside of the cup. Stack the shell die on top of the straight die. Lower the cup over the two dice. Pressure of the right hand a+ gainst the outside of the cup keeps the antezier coin iniplace, as this coin ears down on the shell, it forces the shell to slide down and over the tabled di Now display @ large coin. Cause it to penetrate the top of the dice cup. Lift the cup and show the coin between the two dice as indicated in Fig. 5. You can use a magnetic cup to keep the interior die and coin in place. If this method is used, it js not neces- sary to do the trick with a coin. You an use a borrowed bill. The bill is folded in half and caused to vanish by means of a thumb tip. The bill is then found between the two dice. NOTES Regarding the Vernon material that appears in Chronicles, it is all in the nature of routines and moves that were crowled out of the Vernon Folios. The "spellbound For sxperts" routine by Vernon & Garéta in the next issue main- tains the standard of excellence. From time to time in the past men- tion has been made of circulation fig= ures. When the changeover was made from Pallbearers Review to Chronicles about 100 people did mot renew their sub- scriptions. This has more than been made up by new subscribers, so paid cir- culation stands at just over 2500. I've never counted dealer copies because the figure flucuates from issue to issue and also because only a small number of issues are sold through dealer. I'm grateful to the many readers who sub- scribe direct. vou get Interlocutor at no extka charge, and many have written in to say it is the best (or most in- formative) magazine in magic. Pluto Bet: Tt's been a while since betting hustles have appeared here. The following bet is easy and surefire. Ask anyone except an astronomer if he can name the planet in our_solar system that is furthest fron the sun. He'll say Pluto. Even though textbooks will back him up, he’s still wrong. Pluto has shifted orbit, so the bet is good until, 1999, when Pluto shifts back. Stand-up magicians have nothing but raves for the George Sands lock and key trick in #8, Midnite coin in #9, and Medallion in #7. On this last Jerry Fulton remarked, "How simple can a method get?" Readers sometimes complain that T reference out-of-print issues of Pall~ beavers Review. This is not done to ir- ritate those who don't have access to ‘The more you know about the material on your own shelves, the more that material is worth to you. ‘The many late-night sessions with visiting magicians this past month were a graphic reminder of all the fine un- published magic there is out there. -1210-Curiosities Many readers have written in to praise this colunn and I would like to express géatitude for your comments. If you know of an odd or offbeat trick that is not as well known as it should be, please drop me a line. Both of the rou- tines in this installment came about as a result of a letter received from Miller Cravens. To Mr. Cravens and to Van Cleve and Martin Gardner for per- mission to reprint these ideas, a note of thanks. Van Cleve CURSE OF DARKNESS ‘This routine is reprinted from Van Cleve's booklet “Weird Magic." The man~ uscript is available from the author for $3.50. His address is 1830 Bennett- apt. 222R- Dallas Texas 75206 and is highly recommended as a source of offbeat: mag- ic. Further notes fron van Cleve follow this description, Effect: A black candle is lighted. It burns brightly for a moment, then the flame shrinks to barely a glow. Upon command= or the rites of exorcism- the flame grows bright again. No gimmicks. Theme: The powers of dark- ness try to snuff out the candle as a shadowy hand attempts to pinch out the flame. Magical incantations drive away the darkling demons and the light grows bright. Working: The candle mist have a fairly long straight wick which is stand ing straight up. A candle which has been burnt for a time, then put out and let ool, works best. Light only the tip of the wick with a match. The rest is automatic. When the heat of the flame reaches the body of the candle, melting the wax, the flame grows brighter. But as the wick is warming up, the flame burns low. ‘Time the patter accord- ingly. Different candles work different- ly, so be sure to test out the timing for the candle you us In a letter extending permission to reprint this routine, Van Cleve add~ ed the following note: he effect works best in a small, closed seance-roon setting. In most platform or stage performances, the air conditioning sets up currents in the room that cause the flame to flare and flicker. This spoils the proper working of the effect. "Miller Cravens adds his usual de~ Lightful addition to the effect. On one vecasion, the wind currents messed up the working of the effect,but the power of suggestion is so great that the aud- dence saw the light dim and drow bright~ er anyway. Perhaps Miller has found the post secret of all.” Martin Gardner BOILING POINT In the same letter where he men- tioned the Van Cleve trick, Miller Cra~ vens brought up the subject of a trick Naxtin Gardner once put into print. The effect is that you fill an ordinary glass with water and cover it with a handkerchief. On command the water be~ gins to boil. the audience sees the water boil. There is no gimmick. This reminded me of an addition x made to the effect. Some years back, when Bob shvegzda asked for a contri- bution to his Magic Club News, this -1au1-(UCLA: cont'd) eS we ‘There are other modifications and short-cuts, but they require handling. ‘The more handling, the less the chance that readers will even attempt the move. The double-1ift from the center of the deck (see Jack Avie original in the Pentagram) is a useful move, and the UCLA handling one of the easiest. I hope readers will be encouraged to give the move a try. (CURIOSITIES: Cont'd) was the item I sent him. As in the original, you fill a glass with cold water, cover it with a hank and invert the glass. On command the water boils. The addea angle was that when you uncovered the glass, the water was no longer cold. Tt had heated up considerably. As before (and the key to work of this kind) there is no gin mick. I'a like to make it clear that the hot-water bit is the ONLY thing I've added to the original routine. What follows is essentially the Martin Gard- ner description from the March, 1959 HWM.Introducing the trick, Martin wrote Many years ago a gpysy fortune teller performed this trick for my wife as a proof of her supposedly supernatural powers. I do not think it is well known, yet when properly presented it is a capital impromptu trick. "Fill the glass to the brim with water. Cover it with a handkerchief that has previously been dipped in wa~ ter. Push down the center of the cloth to make a kind of well, then invert. 12125 the glass on your right palm. The left hand now seizes the glass as shown, the fingers 5 thumb Eressing the hank firmly against the outside of the glass. Air pressure will cause the center of the cloth to bal- loon upward inside the glass. ‘when 1 touch my finger to the bottom of the Glass,' the gypsy said, ‘the water will begin to boil.’ Sure enough it dia- or xather it seamed to. “what happened was this. she pre: sed down on the glass with her finger. ‘This caused the hank to creep up the outside of the glass, which in turn caused the center of the cloth to move downward on the inside. The vacuum which formed inside the glass as a re~ sult of this action drew air thru the fibers of the cloth. The air bubbled up thru the water to create a perfect illusion of boiling. Only a slight pressure with the finger is necessary to start the bubblos and the movemont of the cloth is so slow as to be im- perceptible." To cause cold water to become hot the secret is this. Before performing the trick go into the kitchen and al- low the hot water to run for a minute, then shut it of€. When ready to per- form the trick shortly thereafter, go into the kitchen in the company of spectators, turn on the cold water and £111 the glass. Remark that you will £ill the glass with cold water in or der to perform a simple experiment. Of course the water is not cold, it's hot. This is because you previous: ly turned on the hot water tap. Now perform the routine exactly as Martin Gardner describes it. at the finish the water will be hot.{UCEA: Cont'd) ~~ @ 6. When he calls stop, place the RH packet on top of the IH packet, but in a forward stepped condition so that the secretly jogged card lines up with the bottom packet. This is shown in Fig. 3. (The condition of the deck at this point is what Ken Beale has naned the Interlock position) . 7. Take the Ri away so that the audience can plainly see the face cards of the stepped packets. This is important because the card they are going to select is different from these two cards and this distracts at- tention away from any idea of a force. 8. The RA now flips the stepped packets over side-for-side as a unit into the LH so they are face-down. The RH then taps the top card of the out- jogged packet as you say, "You stoppal here." 9. the RH Grips the backjogged packet from above and merely pushes it forward so it is square with the ball ance of the deck. As shown in Fig. 4, @ double cara automatically slides out of the center of the deck. 10. The RH grips the double at the outer left corner, Fig. 5, and pivots it out of the deck, Fig. 6. Let the spectator see the face of this card. ® 11. Drop the double face-down onto the top of the deck. Deal off the top card. Then turn up your prediction. Tt wrong. Snap your fingers over the tabled face-down card. Turn it over and now it matcHes the prediction. Self-Defense Note Some people can learn a card move (or any move) from printed instructions. Some have trouble and some can never learn a move until they seo it done.In an effort to reach the widest possible audience, I try to describe only the easiest handling in print. That is the case here But it should be pointed out that there are more sophisticated ways to handle moves like this. For example, 1 do not use the setting-up procedure of Step 3. At the beginning of the trick, when I look thru the deck for the mate of the top card of the pack, I down jog the cara 3r@ from the top with the left little finger while the deck is in @ spread condition. (Cont'd on pg. 1212) -1213-THE U.C.L.A. MOVE Karl Fulves The title ie an acronym and stands for Utility Center Lift Action. In the common tongue this means a double-lift from the center of the deck. You never touch the double card as it slides out from the center, yet it is always a double card and the alignment is always perfect. There are no moves (not: even a double 1ift!) but there is handling. Once you get the handling down, the move will work perfectly. What follows s a very simple application to a pre~ diction trick. Effect: wagician takes any deck, runs thru it, removes a prediction card and places it face-down on the table. The spectator then chooses a card. His card does not match the prediction,but the magician snaps his fingers and the chosen card then changes so there is a perfect match. Method: Because of the way the handling is structured, you get not only the double-1ift but, at no added expense, a built-in cara force as well. 1. When you take the shuffled deck go thru the cards with the faces toward you and note the top card of the deck. Say it's the 5D. Find the mate of this sta card= the 5H- and place it facedown ‘on the table. 2. Square up the deck, tum it face-down and place it in LH dealing position. Get a left little finger break under the top two cards of the deck. 3. The RH removes the bottom card ‘and inserts it into the center of the deck from the near short end. The Ri then zenoves the new bottom card and inserts it into the break as if to bury it also. This is done as an idle gesture. You are merely burying a ple of cards before beginning the rou- tine. The card you insert into the break goes' in to a point where it is backjogged about 1/2", Fig. 1. The RH moves to a position over the deck and squares the deck (apparently) but leaves the downjogged card in place. 4. The above is a simplified set~ ting up procedure. You want the card 3rd from the top backjogged about a half-inch. when you reach this point, keeping in mind that the card 3rd fron the top is secretly backjogged, turn the deck over side-for-side so it is face-up in the Lit. 5. Innediately grasp the deck at the sides from above with the RA and begin a Hindu shuffle, Fig. 2. Strip OFE snail packets until the spectator calls stop. (cont'd on pg. 1223)THE No. 16 CHRONICLES Copyright © 1979 by Karl Fulves SPELLBOUND FOR EXPERTS Among experts this routine is generally conceded to be the strong» est and most deceptive version of the classic Victor "Spellbound" concept. It devastates magicians because at each step, when they think they know the method, their guesses are demolished in short or- der. The method is not easy, but if you want to devote time to learning the best handling for “spellbound, " this is the routine to learn. Victor's original routine ap- peared in Magic Of The Hands in 1937. About ten years later Vernon yeleased his version thru the stars of Magic series. During the early 1950's Frank Garcia used a double~ face coin to do Spellbound. This started out as a Dai V ernon gaq, bat it had an unexpected side-effect; magicians who did not know Frank was using a gaffed coin had po idea how the trick was done. As @ result, more serious thought was given to Frank c FAL CLA 220rrorating the gated coin into a spellbound rou tine, and the following handling is the result. Ia trying to unravel who contributed what, a standard 1215-The other version was to upjog 4 Aces and a Jack. The Aces are placed in a row on the table, face-down. The Jack is face-up. Spectator is asked to choose a card from the row such that this card, plus the Jack, will produce a Blackjack or 21. The spec~ tator thinks you're crazy since any card in the row will produce a 21. He picks a card. It is of course an Ace. You turn over the other three cards and they have changed to 2's or blanks. The method of switching the deuces in is "The unpublished Add-on Move” in the magnificent Vernon Close= Up Folios (pg. 1027). Bob Brook R&B Performer explains in advance that he has a prediction card in his pocket and further that it is from another deck: A blue-backed deck is then removed from its case. The deck is shuffled. A card is chosen. There is a free and unrestricted choice of one card. say it is the 6H. ‘The 6H is placed aside face up. ‘The prediction cara is removed from the pocket. It is red-backed. When turned face-up, it is seen to be the 6H also. Almost as an incidental footnote to the trick, the magician says, "an odd thing happens when a red-backed 6H and its blue-backed mate are in con- tact. He puts the two cards together, then cuts them into the blue-backed deck. The deck is spread facedown on the table. It has changed to red backs. There is a face-up GH in the center, the presumed prediction card of a mo~ ment ago. But when it is turned over, its back has changed to blue. S0, down to basics, you start with a red-backed prediction cara and a blue- backed deck. You end with a blue pre~ diction and a red deck. Inspiration for this routine is a Harry Franke trick in Hugard's and the Karl Fulves "Technico- lor Card” routine, which I got at Tannen's. Method: Remove the red-backed Gi from a red-backed deck and place it in the pocket. Remove the blue-backed 6H from @ blue-backed deck (what else?) and put it on top of the red-backed deck. Case this deck in a blue card-case. 1. Remove the deck from the case. Leave the case on the table. It is a convenient and useful reminder to the audience that the deck is blue~backed. 2. Turn the deck face-up and give it an overhand shuffle. But make sure that the left fingers tetain the stran- ger card on top of the deck. After the shuffle, square up the deck, turn it face-down and place it on the table. You now have the blue-backed card on top of what the audience thinks is a blue-backed deck. Further, the deck is near the blue-backed card case, so the color is re-inforced. 3. Remove the red-backed 6H from the pocket. Don't show the face of this card. Say, "I'll put the prediction in the deck so you know where it is." 4. Turn the deck face-up. Place the face-down 6H in the deck about a quarter of the way in from the face of the pack. Square up the deck. 5. Cut the deck at the midpoint & complete the cut, but retain a break between the halves. You are going to perform the trusty riffle-force. 6. The left thumb riffles alongthe left outer corner until the specta- tor calls stop. Regardless of where he calls stop, lift off all the carda a~ bove the break with the RH. 7. The RH turns palm-up, This will bring the blue-backed cara into view as the top card of the RH packet. Say to the spectator, "You stopped me on this cara.” 8. Turn the RH palii-down. Ask the spectator to remove his card. He will remove the back card of the face-up packet, the blue-backed 6H. After he has done this, replace the RH cards on top of the LH cards. 9. Have the spectator place his card face-up on the table. spread the deck face-up and remove the facedown Prediction card. 10. Now comes an illusive bit of handling that allows for a clean fin- ish. Square the deck and leave it face up on the table. Then drop the face— down prediction card on top of the face-up 6H, in an overlapped condition 11. Turn both cards over as a unit, still Keeping them offset from one another. The spectator sees that your prediction card matched the card he cho: 12. Square up the two cards, but leave them face-to-face, blue card up- permost. Drop the face-up deck on top of the two cards and immediately out the deck and complete the cut. 13. Say, "I shouldn't have left those two cards together like that. Here's what always happens, You can try it yourself when you get hone." 14."Phe deck is blue-backed," you say, "But if we wait just a second. Pause, then flip the deck over. Immed- iately spread it face-down on the tab- le to show the color change. 15. There is a face-up 6H in the center of the deck. Say, “The deck turns red and the prediction card..." Slide the 6H out of the deck, turn it over, and finish with, "...the pre~ diction cara turns blue!" Pocket the prediction card and go ‘on with another trick. PS: In Harry Franke's trick the handling is refreshingly different;he ‘says nothing about the card in the Pocket. He says that the chosen card will leave the deck and go into the pocket. Tt does, and in the process it changes color. And there is no force. (Believe that Harry's trick was marketed thru Guaranteed Magic and that it too was called "technicolor Tom Sellers Two Tricks (about twenty years ago this rou- tine fooled a roomful of magicians. I was there and was completely taken in, As impressive as the effect was, the method evoked a stronger response be- cause of the extreme simplicity of its construction. KE) A Billiard Ball Penetration ‘The performer drapes a silk hand- kerchief over a candlestick. under this silk he places a billiard ball. A larger handkerchief is now pla~ ced over the silk, covering the ball. When the large handkerchief is remov— -1230-