THE No. 13 CHRONICLES copyrtignt (@) 2979 by karl Puaves Effect by Karl Fulves, method by Derek Dingle. More specifically, I call- e4 Derek and said, "I've got an ef- foct.” A few minutes later he called back and said, "I've got a method.” Here is the result: ‘The magician deals ont 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 ont an honest round." He visibly places the four-Ace hand onto the deck and cuts the deck to lose the Aces. ‘Thore axe now two other hands on the table. The magician gathers these ‘one on top of the other. He then deals out two poker hands, one to himself and one to the spectator. When the magician turns over his own hand, tie 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. 80 I'll 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. -1185-Inspiration for this effect is a sequence in a W. C. Fields film where he gets into a draw poker game with a couple of rough customers. One man Slaps a gun on the table and says that anyone caught cheating will be dealt with in a violent manner. the cards axe dealt and Fields, upon looking at his hand, is horrified to discover he has been dealt five aces. He discards one Ace and asks for ‘a card on the draw. The card he gets is another Ace! ‘The sequence is very funny. About 1970 or 1971 I suggested it as a card plot to several magicians. The version known as "The Problem At Draw" was also devised at that time. Sam Schwartz took the problem Jong the smali-packet route. His ver- sion should be available thru Tannen's as this is being written. About 1971 or early 1972 Derek Dingle and J met regularly to discuss what would eventually become the Derek Dingle issues of “Epilogue. Along the way a number of ideas were discussed and @ number of tricks collaborated on. ‘he present routine is one of then. T would like to make it clear that while there are a number of KF solutions to this problem, they are as nothing com pared to the brilliant method devised by Derek Dingle. ‘The Set-Up The only necessary cards are the four aces and a Royal Plush in Spades. ‘The "x" cards should mostly be red. From the top of the deck down, the set-~ up is as follows: XoK~AH-105-X-AC-JS~X-X-QS-K-AS-KS- AD-X. The top card of the deck is an x card, followed by another x card, then the AH, the 105, ete. The Routine Deal out three poker hands, a card at a time, each cara going on top of the next, in conventional fashion until each player has five cards. 2. Place the balance of the deck to the left and in front of you, face- up, 3. Take hand #2 and place it fac down on top of hand #1. square up the Packet and turn it face-up. A. There is an indifferent card at the face of the ten-card packet, fol- lowed by the four Royal Flush cards (K,Q,3,10), then four "x" cards, and then the AD. 5. Spread these cards and show that you don't have strong cards in the two hands dealt to the spectators. say, "IE you were a gambler you wouldn't give very much to the other players." Spread the cards loosely so the audien- ce doesn't get a clear view of any in- dividual cards in the packet. 6. Square up the packet, turn it face-down and place the packet on the table in front of you, to the right of the facemup deck. 7. Pick up the dealer's hand, tum the top card face-up and say, "The important card isn't this one, but the other four cards." 8. Place the indifferent card on the table. Then turn the balance of the packet face-up. 9. Count 4 as 4 to show that the dealer has four Aces. 20. Turn the packet face-down into IH dealing position. as you be- gin the square-up action with the RH get a break above the bottom two cards. 11. ‘the RH takes the tabled x ard and replaces it facedown on top of the dealer's hand. 12. You're now going to steal, the bottom two cards. Grasp the pac- ket from above in RH Biddle grip. ‘The left little finger kicks the bot- tom two cards to the right as shown in Fig. 1, 13. Fig. 2 shows the RH grip at this point, slightly exposed so that ‘the angled packet can be clearly ~1is6~seen. 14. The Ri moves to a point di- rectly over the tabled packet of 10 ite cards. The LH takes the top 3 cards - ‘of the dealer's poker hand, turns > } \y them face-up as a unit, and deposits & x them onto the face of the deck. <7. Seumor 18. Pick up the face-down pac~ Ket. It now contains the original 10 cards plus two Aces you've loaded on top. 415. In the same motion the Ri @xops down to the tabled packet ,add- 19. Say, "Some gamblers stack ing its two cards to the top of this the cards to win," As you patter, Packet. Fig. 3 shows the action here. fan off the top three cards and (This loading action can be found in transfer them to the bottom of the the reprint of the $20 Manuscript, packet. Bg. 36). Tt should be noted that the exact set-up of the Aces, except for 20. Say, "You can also bettom the AS, is not crucial. If you use deal." Now deal two hands, one to the set-up given above, the face the spectator and one to yourself. card of the deck in Fig. 3 will be The spectator's cards come off the the AC rather than the aN. top of the packet. Regarding the cards you deal yourself, openly bot: tom deal on your first, second and fourth cards. 21. When it comes time to deal the spectator his 5th card, you have 4 cards left. po a 3-card block push-off and place these 3-as 1 into the spectator's hand. Then give yourself the final card. 22. Turn the spectator's hand face-up, fan the first four caras, showing an indifferent hand. Don't let the audience get too clear a view of the last two cards because you don't want to flash any of the Royal 16. The patter line here, as Flush cards. You apparently place the Aces on the face of the deck, is, "Of course if 23. Square up the spectator 's the gambler didn't have the aces he hand, turn it face-down and place it would have to rely on other cards ‘on the table in front of you. in the deck. For instance...” 24, Pick up the dealer's hand & 17, Cut the deck ana complete hold it in the LM, Say, "Remember, the cut to apparently lose the four (oSoeeist nena tvanarenei ea oekes™ Aces. The deck remains face-up on the table. 25, Turn the top card of the =1187-dealer's hand face-up and place it a the tabl 26. The psychology here is im- portant. The audience knows you have dealt yourself the winning hand, but they don't know as yet what that hand is, Tt can be anything, but no ene will suspect that it is the foureAce hand you just discarded. 27. Turn the dealer's caras face-up and count 4-as-4 to show you have the four Aces once again. The last card of the count goes to the back of the packet. This will leave the AS at the face of the packet. 28. Turn the packet facedown. Pick up the indifferent card from the table and place it face—down on top of the dealer's hand. 29. Now you apparently lose the four Aces in the deck again. While the LH holds the packet in dealing position, the RH grasps the packet from above in Bid@le grip. 30. The left fingers push the bottom card of the packet, the AS, to the right, where it is taken by the RH. This is a side steal action made easy by the fact that you are working with a small packet, Fi¢.4 31. ket face-up onto the face of the deck, At the same time the Ri The LH drops the Ace pac- picks up the tabled packet, load~ ing the AS onto the top. 32. Once the tabled hand has been picked up, hold it from above with the RH. The left thumb takes the top card into the Li, then the ~1ise~ next card, and then the next card. Place these three cards onto the bottom of the packet. The covering patter line is, "I only have five cards, so it's difficult to stack them, but I'll do my best.” 33. As the three cards are placed on the bottom of the RH pac ket, secure a left little finger break above the these three bottom cards. 34, Say, “It's difficult for the dealer to get a good hand be~ cause there are so few cards. Even if the dealer were to look at the cards while dealing then...” 35. As you patter, the left little finger kicks the 3 cards below the break into the RH. They are taken into a palm position. ® | SNM The LH and RH then fan the remain- ing cards, Fig. 6, as you say; "...dt would be impossible to get the four Aces." 36. Again there is a psychol = ogical point. Since you have got~ ten the four Aces twice before, the audience expects you to get the four ‘Aces once more, It does not matter that this seems impossible because, after all, it seemed impossible when you got the four Aces after clearly losing them in the deck. Thus, the audience anticipates the ending, un- awaze of what really lies ahead. 37. Still keeping the cards in afanned condition, pick one of the in- different cards and deal it to the spectator. Pick one of the Spade cards and deal it to your position. Give the spectator another X card, and your self another Spade. Then give the spectator the final X card. 37. Immediately the RH drops to the edge of the table with its 3 palm- ed cards, and relaxes. 38. Say, "It would be extremely difficult to get four of anything with just two caras, so I'l] have to set= tle for something else..." @ 39. The RH reaches over and adds its 3 cards to the two tabled cards. The right thumb lifts up the left sic of the dealer's hand, pivots the 5 cards face-up, and spreads the cards as you say, "...like a Royal Flush.” Pig. 7 shows the action of the RH as the dealer's hand is being turned face-up. LETTERS Erom Charles D. Rose: Pan Mail Dept. So what did I personally get out of the first 12 issues? Hypercard, You Win Once; Elastic Illusion, Caper, Slydini Palm, Rebound, Five Cara Men- tal, Suspense, Two Coin Vanishes, mid- nite Coin, Flying Eagles, A Dollar, Flashbacks, Catapult, Flash Back two, Instant Oil s Water, Twist Trap, Hank Gag, Fireworks. All that plus the VERY candid and informative “Interloc— utor-" If the above doesn't add up to the investment, I'll eat the paper it’s printed on. Back to "the Interlooutor." any= thing T have purchased as a result of your reviews or coments has more than Lived up to my expectations That is more than can be said of the two “nouse" journals. From Anne Carter, the clipping here from a recent Playboy, and a note, say- ing, “Knowing of your constant and Tins Gk yen sonal yore aloe Tee come ae ge ite Hike tory a ee ene et Ne oe poets 2 aria a9 ot Gene joke abou sore a ou a. tyre eta ee ‘Nowhingy My aherere geys in TE “ hing. Some nigh wen the bats ee thoy odors ‘Whadida ya wont Je io. sce whos a cub Sorts Roel 0 Tica ng your tu And: oe ee steal joke, Bes deservedly outspoken campaign against “thieves and hustlers in magic," you might be interested to know that it gees on in comedy too.” -1189-Wi Richard Durham’s XY PIN THRU HANK (this fine close-up trick was a favorite of J. W. Sarles. In his hands it took on the proportions of a miniature illusion; what the audi- ence saw was a series of logical actions leading inexorably to a re~ markable conclusion. Tt was also in the Stewart Judah repertoire. when the Judah Folios were being prepared T wanted to include it in the safety pin routine beginning on pg. 850/but could not locate Richard Durham in time. He was finally located thru the intervention of Sid Lorraine, and per: mission to reprint the routine ob- tained. At the end of the article I'll list other avenies that may stimulate the thought process. KE) ‘The magician borrows a pocket hank, folds it in half, and pins a safety pin thru the center of the hank. He then opens the hank out to show that the pin is fairly pinned to the hank. Again folding the hank, the mag~ ician proceeds to wrap the hank arouni the pin, but leaving one end of the pin in full view. After the hank is completely wrapped around the pin, the magician has the spectator pull the pin. Now, believe it or not, the pin (still closed) slides free of the hank and everything is left for examination. What is most remarkable about this trick is that there are no hid- den moves and no handling other than what the audience sees. Thus we have @ trick that looks impossible yet is completely self-working, Method: Any borrowed hank may be used but when you practice the trick,make sure you use an inexpensive hank.The reason is that if you make a mistake or are not too sure of the handling, the hank may tear or snag. Mr. Durham suggests the use of a DeLong safety pin with guarded coils. You'll probably find that the trick works with any safety pin as long as the tension is not too great in the coils. ‘he hank is folded in half and the pin passed thru the doubled hank at about the center and dow about a half-inch from the fold, Fig. 1. Open out the hank so the head of the pin is away from you, then turn the hank over and spread out on the table with the pin underneath. All that shows is a portion of the pin as in- dicated in Fig. 2. Be sure the head of the pin is toward you. {MEAD OF PIN 1S | TowARDS PERFORMER i“a story avound the trick, 1 Sconstrevng Te onan ola e; you pin a dollar bill avhanh ‘the bill inside the the gypsy stoledeal of mail. Typical is this letter from Allen Lang: "The article on The Red Predic~ tion was really appreciated. I didn't know that this even existed as a card effect on which a lot of work had been done. The "Ten Card Deal" article was also appreciated. In a few pages of reading, I got an ac~ curate idea of the development of this great trick, loads of excellent xeference material, and for a bonus the great ideas by Ken Beale. What else could anyone ask for?" ‘The Seléa a Whenever T meet a talented magic- ian who obviously has fresh ideas and something novel in the way of view- point, T advise him to get his ideas down on paper and get published. There are several routes to take, and in a paragraph 1'11 give my opin- ion of the best. The usual way to be- gin is to contribute material to maga- zines. Unlike newsstand magazines, magic magazines don't pay for material 90 they are likely to publish anything sent to them (perhaps not anything,but almost). Once your name starts to be- come known, you can go to a dealer with ams. and ask if he'd be inter- ested in publishing it. If he isn't, don't despair; he probably has a back- Jog and a waiting list, so he may not be altogether that eager to print the work Of a comparative unknown. If one dealer turns you down, go to another. By taking your ms. to a dealer ¢ hving him handle it, you gain several advantages. The dealer usually has the money to advertise in the major magazines. He has his own mailing List and can thus reach potential customers who ave very likely to buy anything he sells. The dealer has a showroom and he'll give your book prominent display space. All of this is to the good and will help promote your name. You can also arrange to have someone else write your book for you. Tf a “name” author writes the book, it is his name that i$ selling your mat~ 1192+ erial. The problem here is that it is his book, and if it really isn’t his, he'll tell people it is. If the hook is a success, he'll make sure to take credit. If the book bombs, you get ‘the blame. My advise to people starting out is to put their own material in man- uscript form and handle the sales themselves. If you're looking for a get-rich-quick scheme, this isn't it. There is no reason way any magician will want to buy a book from an un~ known. You have all the headaches, and that means handling the advertis~ ing, filling mail orders, maybe going around to conventions and promoting the book yourself. But if you're willing to invest the time and money, it's my feeling that you will benefit more from reader feedback, that you'll get a better feel for the demands of the market~ place, and that if your work catches on, you'll be in a position to realize @ profit from back titles that maybe didn't do as well first time out. If you decide to advertise, the hard facts are these. There is only one magazine that reaches an active buying audience and that magazine is Linking Ring, It used to be that Genii shared top honors, but in recent years the comments I've heard tend to indi~ gate that Genii has slipped badly. On more than one occasion I've gotten letters from people saying that a single mention of a book or trick in Interlocutor is worth more than any ad in Genii. Don't expect encouragement or financial aid from friends. You have to go it alone, but I think that if you're in this for the long haul and not for the quick buck, it is over- whelmingly clear that you should go in- to business for yourself. I've found this to be true in my own case; start- ing out in 1965 as a complete unknown, I can now state that there are at least four people outside my immediate fam ily who know my name and can pro- hounce it correctly- a true american Success story.3 Par geet 13 ae fy iil ait a aeaae i neee i uw nad la Karl Fulves | P.0. Box 433 ‘New Jersey 07666 this card. Phone: 201-427-1284 ‘Teaneck, cae eeThe Schwartz-Cyprian-Fulves rou~ tine called "Brainstorm" in Cards #1 attracted enthusiastic comment. What follows is the easiest version of the basic premise. Effect: Performer removes from his poc~ ket an envelope which contains four cards. He asks the spectator to name ‘one of the 4 suits. Say Hearts is the suit named. Performer removes the 4 cards & counts them. One card is face-up, Tt is the Ace of Hearts. The Ace is turn- ed over. It's back is a different col- ox from the other three cards. Pinally the Ace is returned to the packet and the packet counted face-up. The Ace of Hearts is seen to be the only Ace in the packet. The ether 3 cards are Kings. Method: You use only 4 cards. From the top down the set~up is facedown KS, face-down KC, face-up AD, face-up AH. The Aces have red backs, the Kings have blue backs. The four cards are placed in the envelope. ‘The ‘handling will be detailed for the case where Hearts or Diamonds is called. Handling is the same for the other two suits. The difference ig that you take out the packet with the other side up. Say Hearts is naned. Remove the packet with the blue side up. Bimsley count, upjogging the Ail as you cone to it, This is the first effect; the named suit ia the only face-up cara in the packet. Remove the AH and turn it face~ down onto the top of the packet. Sec- ond effect; the named suit is the on- ly red-backed card in a blue-backed packet. Cut the top two cards to the -1194- bottom. Flip the packet face-up and Elmsley count. Third effect; named suit is the only Ace in a packet that consists otherwise of Kings. ‘The second possibility is that the AD is named. Remove the packet from the envelope with the blue side up. Jordan count to show that the named suit is the only face-up card in the packet. Upjog the double card consisting of the AD backed with the AH as you count. urn the double card face-down on top of the packet. This shows that the named suit is the only red-backed card in the packet. Cut the top 3 cards to the bot~ tom. Turn the packet face-up and Eln- sey count to show three Kings and an Ace, the AD being the only Ace in the packet. You can also use the Thot Count described in Transpo Trix. The whole chapter on thought-card transposition in that book is applicable to tricks of this type. Zn an effort to get away from conventional tricks with cards, my usual habit is to go back to premises that rely on topological techniques. One such trick, taken from the as-yet- unpublished Topological Card Tricks, is the following offbeat stunt, It begins as a rather simple-minded ef- fect, but then things take an odd turn. Bffect: Performer removes the 4H and the 4D from the deck. He places then together face-to-face and openly tears them in half across the middle. The four pieces are held in the out- stretched palm, No pieces are switch- ed and you do not fake the tearing (Cont'd on pg. 1193)ee ee ee eee ‘one quarter is. srcoreee see with Garena eres coe tor's written information. that 1 eee ‘a dummy center section ‘time that Parr! halé-dollar size k circle printed at the | sheet of paper is quarters, the outlineThe fact that the black shows thru the back of the paper is impor- tant to the deceptiveness of this ap- roach. Therefore the pads should be the usual cheap quality found in the five and dine stores. A dummy center section is made by folding a sheet of paper into quarters and then tearing the paper in half & in half again. discard all torn pieces except the center section. Also needed is a white pencil.an ashtray and matches are also on the table. Presentation ‘The performer tells the audience that on the day he was born, there was @ solar eclipse. People born on such days tend to possess telepathic abil ties. The performer tears off a shect of paper from the pad and mentions that the black circle printed on the Senter of the sheet represents a so- Jar eclipse. A spectator is asked to write a four-digit number in the circle with the white pencil while the performer has his back turned. He is then to fold the paper in half and in talf a~ gain, enclosing ‘the black circle in- When this has been done, the per- former takes the folded paper from ‘the spectator and again faces the aud- dence. At this point the way you pro- eed depends on the particular method of switching in the extra center sec— tion and stealing the original center. ‘The following is one of the Rosenthal handlings. 1. At the beginning of the rou- tine the performer should have the extra folded center section finger- palmed at the middle joint of the left 2rd finger. The preliminary pat- ter and procedures described above are then gone thru. -1196- 2. The performer takes the fold- ed paper from the spectator with the fingers of the RH. Holding the paper with the center section at the upper left corner, the LH comes over and the paper is torn in half vertically. 3. At this point half of the folded paper is held between the 1st and 2nd fingers and thumb of the Li, and the other half is held between the Ist © 2nd fingers and thumb of the RH. The center section is part of the paper in the LH. The LH paper is placed behind the half in the RH. 4. Turn the papers a quarter- turn counter clockwise so that the papers are now held lengthwise be~ tween the fingers. The center sec- tion should now be at the lower left corner. 5. Again tear the papers vertic~ ally in half. Now the torn pieces in the Li are placed behind the pieces in the RH as done earlier. However, as this is done, the left thumb slidec the rear quarter of the paper (the center section) about 5 inch to the left. 6. The four quarters are now held solely in the IA between thumb 2nd fingers. ‘The center section is still behind the other three picocs, but jogged to the left. The extra cen- ter piece is still finger palmed as described above. 7. The LH moves over the ashtray and seemingly drops the torn paper into the tray. Actually, the left ‘thumb draws the jogged center piece completely behind the 1st & 2nd fin- gers as the fingers are extended. 8. As this happens, the remain~ ing torn pieces and the extra center Piece drop into the ashtray. The LH moves away from the ashtray and the stolen center is held in a relaxed finger-palm position. 9. The performer picks up the peneil with either hand and moves the torn papers in the ashtray about so that it is obvious there are four dis ‘ttinet torn sections.one of the sec- tions will have a very obvious out-line of a black circle. 10. The spectator is told to ig- nite the papers with the matches while the performer turns his back. While the performer faces away from the audience, the stolen center is read. The revelation of the written number can be made in any manner des~ dred. (GO _DIRECTEY TO JAIL: cont'a) across the top. The RH grasps the deck from above and lifts off the top half, As the RH moves away with this half, the left thumb retains the top card. You thus slip cut this card to the center. Left little finger retains a break above the AS as the RH replaces its half. This form of the slip cut is the Downs Pass. Rifflle force to the break, but then perform the standard slip force, thus loading the "Jail" card directly on top of the AS. Double 1ift, showing the aS, turn the double down, and deal off the top card of the lower packet. Proceed from here per Steps §,9,10,11 of the original handling. You can also cut the aS s "Jail" card to the center and merely riffle force to the break. Your choice. Notes ‘This routine was to appear in the Cards & Cases series of manuscripts -1197- but was crowded out...the cardbox as jailhouse idea comes from a Murry Graham letter back on pg. 306...The small-packet buffs will immediately see the possibilities; you can end a small-packet routine with the appear- ance of a card cut to look like a jail cell, but better yet would be to ar- range four cards to make a small house (3 upright cards forma trian- gle, and the 4th card is the roof) from which you produce a Monopoly-type house or hotel or railroad train or a real community chest, etc, REFERENCE FILE {F=) C5 ‘| ea ROSENTHAL'S CENTER TEAR (pg. 95) Classic problem regarding the center tear is how to logically confine the spectator’s writing to the center of the paper. Another approach, in which the spectator can write ANYWHERE on either side of the paper, is describ- ed hack on pg. 167. Those whose files go back that far may find the method worth reading. When he sent along the write-up of his own method, Harvey Rosenthal kindly included an article of Edmund Rowland's which appeared in the Deo- enber, 1954 Magic Wand. The article describes an ingenious approach to the basic problem, ‘The billet given to the specta- tor looks like Fig. 1. The center square is blank. the spectator writes a letter of his own choosing in the center square, “and to draw a straight line across the paper through the centre in any direction. Three let~ters will have to be crossed out and the spectator is asked to concentrate on the word which they form.” this is shown in Fig, 2. ‘The paper is then folded into quaxters and the center tear carried out, Fig. 3. When the stolen center FIHIG N, (D/&IUN LIT|R) [Lb ® ® aos L ® ® is secretly opened, the mentalist glimpses the letter chosen by the spectator, plus the direction of the line drawn thru it, Fig. 4, and he knows the word. Please check the or- iginal article for complete details. WO COIN VANISHES (pg. 1144): In a letter, Wartin Gardner wrote that he should not be credited with either of the two coin vanishes. Excerpts from his 21 January letter are as follows: “the first vanish, executed with a curling right forefinger, is of un— known origin and I do not know if it has previously appeared in print or not. The pivot vanish is usually cre- dited to Dai Vernon, though I first saw it used by Paul Rosini in his celebrated nightclub handling of the five-coin vanish and star production. “Paul would vanish the first fou coins (he used large, thin metal disos in the manner you describe, then he'd say, “Let's do the last one a little differently." The fifth coin vanished with essentially the same move, except that the left hand is turned with its back to the audience and appears to grab the coin in a fist. -1198— "Ramsey later described this form of the pivot move in his cylinder rou- tine. In both forms, the difficult but essential secret of the move is to keep the right fingers absolutely mo- tionless. There is a retinal retention of the coin in the eyes of the specta~ tors that makes it a most effective vanish, and with five coins it is easy after each vanish for the middle fin- ger to move the coin to the center of the right palm where they do not in- terfere in any way with the next van~ ish. "Wy only contribution was the dis covery, a few years back, that both versions of the pivot move apply, sur- prisingly, to the vanish of a match folder when it is held at the tip of one corner by the right thumb and fore: finger (Gna subsequent note to martin, I mentioned that none of the above background information appeared in ny July 22, 1974 notes. 1 had also asked Af there was additional information on osini's routine. Martin gra- ciously provided information in a letter dated 27 January, 1979. Ex- cerpts follow. KF) "It occurs to me that I may at ‘the same time have done a vanish ‘that looks somewhat similar, but is entirely different- involving a quick withdrawal and a thumb palm. It, too, can be used for the five-coin star, ‘and in fact I devised the move as a xeconstruction of what I thought Paul Rosini was using before 1 later learn- ed he was using a pivot move. I'm sure 1 must have done this move for you also, saying it was original, and pos- sibly you remembered it in connection with the pivot move. Rosini's routine was never writ- ten up, but I saw it done so many times in Chicago night spots that T know it well, although I never master- ed the familiar final move of spread- ing the coins and getting them to the tips of the fingers and thumb. “Rosini would place the five “coins" (metal discs) along the edge of a table, beside an empty glass.in the act of picking up the next coin,the middle finger shifts the previous- ly vanished coin to a center palm. Af- ter the fifth coin, Rosini would put the fingertips of both hands together and make some remark to the effect of "X don't know where they go myself!" "then a drum roll and he would duck down by bending his knees (only front row seaters could see his hands) ‘then come up with the coins in the star formation. Then one at a time he dropped them from the fingertips into the glass. “Before each vanish he would wig- gle each coin from side to side so that its reflection of the spot light would make it visible to everybody in ‘the room." (GO DIRECTLY 70 JAIL: cont'a) After you've Gone this, ink in "Go Directly To Jail" on the face of the blank. Make sure the let- ters are bold enough to be clearly readable at a distance of several feet because you want the message immedia~ tely apparent as soon as the card is turned face-up. Place the blank sec- ond from the face or bottom of the deck. After you've prepared the card case by cutting out the bars, case the deck. (vou will have to remove a few cards from the @eck because of the addition of the force bank of aces, so that the deck will fit into the case) 1, To present, remove the deck from the pocket. The cut-out side of the card case is uppermost. Open the card box and remoye the deck, but leave behind the AS that is on top. 2. Place the flap back into the box and place the card box on the table, cut-out side up. 3. Hold the deck in LH dealing position. Remove the top card, show it and bury it in the center. Remove ‘the bottom card, show it and bury it in the center. 4. Spread the cards between the =1199- hands. Upjog each pencil-dotted card. Then table the deck and spread it from left to right, The pencil-dotted cards are still outjogged. 5. Reach into the pocket, remove the die and toss it to the spectator. fave him roll it. Say he rolls a 5. Invite him to count to the 5th out- jogged card. He can count from the left or from the right. Bither way he arrives at an Ace of Spades. 6. Remove the force card, show him the face of this card, then drop the card face-down on’ the table. Square up the deck and drop it face own on top of the as. 7. Pick up the deck. Place it face-up in LH dealing position. Dou- ble Lift the AS and the blank behind it. Use these two cards to lever the deck to a face=down condition in the left hand. 8. Flip the double card face- down on top of the deck. Then deal Off the top card onto the table. Cov it with the die. 9. Remove the Monopoly game piece from the pagket and use it to inscribe an imaginary "x" on the back of the card. Then place the game piece on top of the card. 10. Ask the spectator if this xeminds him of anything. He will say Monopoly. Slide the card out from under the @ie 4 the game piece. Turn it face-up and show the message. 11. Act momentarily bewildered and then turn attention to the card box. Turn it over. Have the specta- ‘tor open the "jail" and remove the Ace of Spades. Easier Method No force cards. You use just the AS in the card box and the duplicate on top of the deck. The "Jail" cara is second from the top. The proced- ure here may be of interest because it combines two standard, easy forces in an unusual way. Hold the deck in the LH, thumb (Cont'd on pg. 1197)ol : 4 ELEVEN CARD TRICK About 1952 or 1953 Willane re- leased, through his Methods For mira- cles series, Edward Victor's "Eleven Card Trick," one of the greatest of ali impromptu card routines. in the years since, the victor trick has attracted intermittent in- terest. Those who know the trick and actually use it tend to be those on the inside who trade good material but Keep it sub rosa. In recent years in this country there has been a re~ surgence of interest in the 11-Card ‘Trick, do mainly, I think, to the fact that Derek Dingle uses it con~ stantly in his close-up work. Since it uses just 11 cards and @ false count, the Victor routine can perhaps be thought of as a packet trick. If so, it stands as a landnark as to what really can be accomplished with a packet of card ‘The routine is published here with the hope that it will reach the widest possible audience. the count vequires practice. so for that matter oes the entire routine. Those who use the trick would state without hes- itation that it is a spectacular ef- fect. Those who don't know the trick and are reading it here for the first time should know that Victor's 11- Card Trick easily rates as one of the ten best impromptu card tricks ever recorded. This should be incentive e- ough to practice one of the out- standing contributions to the art in many years. The Effect The services of a spectator are required to act as an assistant. He is jokingly asked if he can count; having replied in the affirmative,he is given a pack of cards to shuffle, Edward Victor’s after which he is told to count ele- ven cards onto the performer's open hand. ‘This having been done, the per- former takes the pack from him and in- structs him how to hold his hands. He places the pack into one of the spec tator's hands. He is just about to place the packet of eleven cards into the assistant's other hand when as an afterthought he checks the count, bat. finds that he has ten cards. After slightly aduonishing the spectator, the performer asks for an- other card to make the count up to 11, so the assistant hands him one. Again the performer counts them and still finds only 10, so yet an- other card has to be taken from the assistant. Once more the performer counts them and still there are only 10. By this time the assistant has become suspicious and will want to count the cards himself so he is ask- ed to check the cards. The pack is re- moved from his hand as he is handed the 10 cards to check. He finds there axe only ten cards. Suddenly the performer has an i- dea. Taking back the 10 cards once More, and handing the assistant the Back of cards, the performer asks for 3 more cards to add to the 10. This, as the assistant will confirm, makes 13. 80, as only 11 cards are requir- ed, the performer hands two cards bade now to the assistant, asking him how many that should leave. ‘the assis tant naturally answers 11. the cards are counted again but there are still 13. So yet another two are given back to the assistant. Once more the cards are checked. This time there are only ten.seotatme PORE aed is taken | aa ther: pesos Sees the count! of 11 last ali seens ready, so the again taken from sis— & The assistant does so. Place the ‘card on top of the packet in: ia “Now I will show you a i wonderful Se eaters se count ashand?" Of cle- in my but as you can~ LEVEN cards, SS Give you back TWO is what I want, eleven your many have ‘thirteen. ‘ELEVEN “now if 1 “that __ False count: ven cards as as the RY holds these two iaan lafTricks based on familiar games have built-in audience interest. The game can't be too abstract because the appeal is limited. Thus, while chess undoubtedly holds possibilities that boggle the mind, the game it~ self is too little known to capture wide audience interest: over the years I've found that popular hoard games like Monopoly are a source of virtually surefire plot ideas. Here is Effect: Spectator rolls a die and by this means chooses a card. Say the card iis the aS. ‘The die is placed on top of the aS. Performer removes a magic amulet from his pocket. Actually it is a game piece filched from a Monopoly set and he places it on top of the card, next to the die. Mumbling the sacred words, “Park Place," the performer looks at the die and the game piece, and says to the spectator, "For some reason this reminds me of a game, of..." Unless he has lived on Mars, the spectator will be certain to recog- nize the game piece, and he will com- plete the sentence by saying, "maybe Monopoly?" Performer slides the chosen card out from under the game piece and the die. He turns it over, face-up. The -1204- Karl Fulves GO DIRECTLY TO JAIL card is now blank, and written on its face are the immortal words, "Go directly to jail." Performer acts be- wildered, then turns over the card case. Tt has been cut out (see sketch on the right) and resen- bles a jail cell. Inside the card case is found the chosen card, the as. Method: Since you have to carry the game -piece, the die, the prepared card box and the "Go Directly To Jail" card with you, the trick can hardly be called impromptu. And because you have all this in the way of visible appar- atus, there is no reason why you can't fake the whole thing and use a bank of forcing cards to insure that the spec- tator chooses the AS. What I do is this. Six AS from a matching deck are pencil dotted on the back, These cards are distributed thru the pack. A 7th AS is on top of the deck. Remove the AD. fo make the blank, erase the pips from the AD. This can be done with a Pencil eraser. (Cont'd on pg. 1199)THE No. 15 CHRONICLES Copyzignt (@) 1979 by Karl Fulves on xare oc- casions a mag- ician will take a standard card plot, add new insight, and in the process develop a brilliant new ef- fect. That the magic~ ian in this case is Roy Walton should come as no surprise. Roy here suggests a new angle ‘on the mch-overworked sandwich ‘tuick, one that opens up entire- ly new possibilities with tricks of this type. Not incidentally, the methods are as clean and straightforward as the effects, amounting--(almost} to self-work- ing approaches. qhe first effect might be called Trapped With A Difference. The second trick is one where cards jump from one sand- wich to the other. Both are excellent. I'd like to thank Roy for making them avail- able for publication here. Count Me In ‘The effect is this. Acard is freely sel- Two Tricks ected by a spectator and placed face-down on the table. A pair of Sacks is placed face-up on top of the pack. Instantly, a quantity of cards ex- actly equal to the value of the selected card appears between the Jacks. Thus, if the freely chosen card is a 6, then exactly 6 cards immediately appear be- tween the Jacks. Method: Secretly ar- range ten cards in nu- meric order from 10 to Ace (10 on top of the deck, 9 next, etc) and place them on top of the pack. The suits are of no importance and should be mixed. Remember the suit of the Ace. Place one card above the stack of ten. Run through the face-up pack and remove the first Jack you come to, placing it 1205+aPack and the suits of the cards are of no importance. Place an indifferent card on top of the stack and you are xeady to perform. Run through the face-up pack and vemove a pair of 10's and a pair of aces, placing each pair face-up on the table. Take care that your stack is not. disturbed. Turn the pack face-down in the left hand. Say that as the values of the first pair are 10's, you will put ten cards between them. Count off ten cards fron the top of the pack into the right hand, taking each cara below the previous one, so that the stack is retained in order. Take the cards in a fairly untidy manner so that the right hand ends up holding ten cards in an unsquared state. Get a left little finger break un- der the top card of the pack and square the right hand cards by rest- ing them on the pack for a second. ‘Then 1ift them away with the vight hand, twisting the pack vertically with the left so that the right hand can tap the left long edge of its packet on top of the pack to complete the squaring. Place the ten (really 11) cards facedown between the face-up 10's. Place one card face-down between the Aces, pointing out that as their val- ue ds 1, you will place one card be- tween them. Pick up the 10's packet from the table and place it on top of the pack.‘In this action get a left 1it~ tle finger break under the top face- up 10-spot. Cut the pack once, at the approximate center point and as the halves come toyether retake the break with the left little finger in standard Double Undercut fashion, the right thumb tip having carried the break to the centre in the cutting action. Pick up the Ace packet from the table and place it on top of the pack, getting a left ard finger break under ‘the top face-up Ace. cut the pack once, cutting at the centre break point held by the left little finger and pressing the right thumb on the near short end to pick up the top card break in stan~ dard fashion. As the halves come together pick up the break from the right thumb with the left little finger. ‘The effect is that each packet has been cut into the pack by a single cut. You end with the left jittle finger holding a break at the approximate centre of the pack, immediately below the top face-up Ace Of the Ace group. Now count the cards slowly from the top of the pack in a face-down heap on the table, inviting the spectator to stop you on any card. He must stop you beforé"you reach eleven. When he says stop, hand the card to him and ask him to turn it face-up. As he does this, cut off ‘the upper half of the pack with the right hand at the break point and use this half to scoop up the pile of face-down cards on the table so that as the two halves of the pack are brought together again at the end of the scooping action, these cards have bean sandwich- ed between the two halves. No breaks are now held. (f think what Roy means here ia the following. The RH cuts off the upper half of the pack at the break, places this packet on top of the tabled pac- ket, then Lifts the combined packet up and replaces it on top of the LA por- tion of the deck. KE) State that only the value of the -1207-ae had iet's see what happened now. po aE one Sen ea ge é oo on ‘the face-up Aces show. Re= ‘the ee of cards with a ‘and place sist the tion vight hand and ‘the left to do this. ‘Invite a spectator to count the face-down cards between the os bethe table. The right hand applies pres- sure against the outside of the cup. ‘The intent is to keep the coin inside ‘the cup. ‘The right hand dumps its content out onto the table, or appears to, Act- ually, the bottom die from the cup, and the concealed die from the left hana are dumped onto the table, Fig. 2. It appears as if both dice came from the dice cup. ‘The left hand places one of the visible dice on top of the other. Then the left hand curls around the two stacked dice. The heel of the left hand touches the table. As the right hand moves to the left to place the cup over the two dice the left hand allows one die to secret- ly drop into the lap, Fig. 3. The dice cup is placed over the single die held by the left hand. The audience thinks the cup was placed over two stacked dice. As the right hand goes to the poc- ket for the coin, the left hand drops inte the lap and retrieves the lapped die. The right hand searches the right Jacket pocket and finds nothing. The left hand then goes to the left jacket pocket to search for the coin. The left hand gets rid of the palmed die in the pocket, then reaches into the right in- side jacket pocket and finds the coin. Display the coin and drop it onto the table so the audience can hear how solid it is. As the coin is then picked up off the table, it is lapped, Fig. 4. 7 Go through the business of causing the coin to vanish as you pretend to cause it to penetrate the top of the dice cup. Lift the cup and the audience will see the coin betwedh the two dice, Fig: 5. Second Method This method does not require that you lap the large die. As the audience sees it, you place the cup over the two dice. They get a clear, unambiguous view of tuo dice under the cup. ‘The method is this. One of the vis- ible dice is a shell. You place this die ‘on top of the other die. Then you low- ex the cup over the two dice. The dice are of a size such that there is room under the cup for only two dice. -208-Thus, as the cup is lewered over the two dice (the cup contains a die and a coin as in Fig. 2), the shell is forced t¢ 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 ag described in the first method, Third Method The idea here is to eliminate 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 tho 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 interior coin in place. As this coin Bears down on the shell, it forces the shell to slide down and over the tabled die. Now display a large coin. Cause it to penetrate the top of the dice cup, Bift 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 is not neces- sary to do the trick with a coin. You can 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 Crowded out of the Vernon Folios. The "Spellbound For Experts" routine by Vernon § Caréia 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 not 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 Assues are sold through dealers, I'm grateful to the many readers who sub- scribe direct. You get Interlocutor at no extra charge, and many have written in to say it is the best (or most in- formative) magazine in magic. Pluto Bet: It'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 from the sun. He'll say Pluto. Even though textbooks will back him up, he's still wrong. Piuto has shifted orbit, so the bet is good until 1999, when Pluto shifts back. Stand-up magicians have nothing but xaves for the George Sands lock ana 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 I reference out-of-print issues of Pall- bearers Review. This is not done to ir- ritate those who don't have access to the issues, but rather to inform those who do. 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-om dd ‘; = Sasreecaseiien eo oye acneoe one” ‘the wong of” _ Martin Gardner In the same letter where he men- ote eas Clete cist, tae Ge(UCLA; Cont'a) Le ‘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-lift from the center of the deck (see Jack Avis 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. (CURTOSITIES: Cont'd) was the item I sent him, As in the original, you fill a glass with cold water, cover it with 2 hank and invert the glass. On command the water boils. The added 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 gim- mick, I'@ like to make it clear that the hot-water bit is the ONEY thing I've added to the original routine. what follows is essentially the Martin Gard- ner description from the March, 1959 HMM. 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 showm, the fingers s thumb Bressing the hank firmly against the outside of the glass. Aix pressure will cause the center of the cloth to bal- Joon upvard inside the glass. ‘when T touch my finger to the bottom of the glass,’ the gypsy said, ‘the water will begin to boil.’ Sure enough it did~ or rather it seemed to. ES ee i “ifnat tappened vas this. she pres- $68 ton Ge the Gives With her fingen. Mie coligat che Seat to orbep ub -che olteide Of thé Glsos/ivelah in carn caused the center of the cloth to nove Gonder ene thet tee wecrten which fomed inside the glaes as a re- Bet Guecaccion Gearets Gan as fibers of the cloth. Te air bubbled Nesta) cet texts a eetee Elusion of polling. only a slight pressure with the finger is necessary fo start the bubbles ami the novenent 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 off. When ready to per form the trick shortly thereafter, go into the kitchen in the company of spectators, turn on the cold water and #11 the glass. Remark that you will #il1 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 iy turned on the hot water tap. Now perform the routine exactly as Martin Gardner describes it. at the finish the water wall be hot.it forward so it is square with the bal- deck. 2 aeTHE U.C.L.A. MOVE Karl Fulves The title is an acronym and stands for Urility Center Lift action. In the common tongue this means a double-ift 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 lift!) but there is handling. Once you get the handling down, the move will work perfectly. what follows is a very simple application to a pre~ diction trick. BEfect: Magician 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 card force as well. 1. When you take the shuffled deck go thru the cards with the faces toward you and note the top cara of the deck. Say it's the 5D. Find’ the mate of this =1214- card- the 5H- and place it face-down ‘on the table. 2, Square up the deck, turn it face-down and place it in mH dealing position. cet a left little finger break under the top two cards of the deck. 3. he RH renoves the hottom card and ingerts it into the center of the deck from the near short end. The RH then renoves 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 cou 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 dowjogged card in place. 4. The above is a simplified set- ting up procedure. You want the card Sd from the top backjegaed about a half-inch. When you xeach this point, keeping in mind that the card 3rd from the top is secretly backjogged, turn the deck over side-for-side so it is face-up in the LH. 5. Immediately grasp the deck at the sides from above with the RH and begin a Hindu shuffle, Fig. 2. strip off small packets until the spectator walls stop. (cont'd on pg. 1213)THE No. 16 CHRONICLES copyright ©) 1979 by karl Fuives Among experts this routine is generally conceded to be the strong est and most deceptive version of the classic Victor "Spellbound" concept. Tt davastates magicians because at each step, when they think they know the method, their guesses are demolished in short or- er. The method is not easy, but if you want to devote time to iearning 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 released his version thru the Stars of Magic series. During the early 1950's Prank Garcia used a double~ Dai Vernon Frank Garcia SPELLBOUND FOR EXPERTS face coin to do Spellbound. this started out as a gag, but it had an unexpected side-effect; magicians who did not know Frank was using a gaffed coin had no idea how the trick was done. As @ vesult, more serious thought was given to incorporating the gaffed coin into a Spellbound rou- tine, and the following handling is the result. In trying to unravel who contributed what, a standard -1215-; AE a as elt Ui HEinaal ude ae oatsame time get the ¢/S coin into posi- tion for a turnover change. The Silver side of this coin is against the fin- gers. 10. As you turn the coin over ,per- form the turnover change. (the Rosen- ‘thal method is given on py. 897 and te Vernon handling on pg. 1019. In my o- pinion the Rosenthal method is the best in print. KE) Deposit the visible $/¢ coin on the lst § 2nd fingers. The spectators see the tails side of the coin, and therefore assumes it is the Silver coin whose head-side they just saw. li. The Li transfers the Silver into thumb-palm position. The situa~ tion at this point is shown in Fig. 2 12. The ui passes palm-down over the RA. At the same time the S/c coin is clipped between the right 2nd and 3rd fingers and pivoted over, Fig. 3. This is another Frank Garcia move. rt occurs when the LH is over the RH so that the move is completely concealed. -1217- As the LH passes over the RH and is moving toward the right, it con~ tacts the coin after the coin has turm ed over (roughly the position indica~ ted in Fig. 4) and pushes the coin back to its original position on the right first and second fingers. 13. You remove the LH by érawing it back to the left, revealing that the coin has changed back to Copper. Note that the change occurs on the flat paln-up RH. 14. To repeat, you use a little- known Vernon move from Gen. The C/s coin is clipped between the right 2nd and 3xd fingers as shown in Fig. 5. ‘This pivots the C/S coin to a verti- eal position. This action occurs when the LH passes over the RH. When the IH is in the position of Fig. 4, the left palm presses down against the C/S coin. This forces the G/s coin down between the fingers, Fig. 6. ‘This move constitutes a novel and easy way to get a coin into back- lip position. 15. Revolve the IH at the wristthe palm at Se sce “You have ed the LH Pees as if ¢ has changed. You oe ver will fall from the left thumb- position onto the se fingers. Both hands are 01 sna ee ee “ean be used in further tricks. ‘U7. You can use the following clean-up to get rid of the clipped c/S -zie-Curiosities Newspaper or magazine accounts of psychics who score far better than aver- age on ESP tests might tend to make one believe that the psychics used gimmicks ox confederates. Usually the answer is more subtle than that. This article ex- Plains how you can score double the av- erage in guessing the identity of syn- bols on ordinary ESP cards. No gimmicks are used. ‘The second part of the article is believed to be an original idea which allows you to identify ESP symbols with absolute certainty. The basic idea is mine, but the application to ESP cards was suggested by Martin Gardner. ZENNER PLUS ‘The standard ESP deck (5 symbols repeated § times) is used. Spectator shuffles the deck, cuts it and places it face-down on the table in front of you. You guess the identity of the top card. The spectator removes the card from the top of the deck, notes its i- dentity and places it aside. The spec- tator notes on a pad whether your guess is right or wrong. The test continues with each of the remaining cards. You should, by pure guesswork, get about 203 of the cards correctly identified, but you will, on the average, get 40% dorrect. Since your score is double the average, clearly supernatural powers are at’ work. Remember that you never touch the cards. Spectator shuffles and cuts as many times as he likes. You never see the face of a single card. The deck is just the ordinary ESP deck. There are ho gimmicks and no confederates, yet you score double the average. Method: Any ESP deck you buy is also a one-way deck. The backs are one way. ‘This point is well known in magic cir~ cles, but its use in a symbol-guessing test does not seem to be as well known. The concept is not new; it was original- ly used with ordinary playing cards to double test scores. But its use is well- concealed and never suspected in the context of an ESP experiment. When you purchase the deck, ac quaint yourself with the one-way back design. Remove all the Circles and all the Squares, orient them opposite to the balance of the deck with respect to ‘the one-way backs, then shuffle then into the balance of the deck. This is the only preparation. To perform, have anyone shuffle and cut the deck. He places the deck on the table before you. Your first guess is a blind since you don't know which way the deck is oriented. (You don't know because the spectator probably turned the deck end for end several times dur- ing the shuffles and cute). So, guess that the top card is a Square. Have the spectator turn the top card face-up. If it is a Circle or a Square, you know that (for example) the north-pointing cards are either Circles or Squares. If the card is neither a Circle nor a Square, you know that the south-pointing cards are the Circles and Squares. Iet's say the north-pointing cards are Circles or squares. Then, whenever a north-pointing card turns up on top of the deck, guess either Circle or Square. You will be right half the time, ‘or one ont of two. T£ a south-pointing card shows up ‘on top of the deck, guess one of the other symbols. You will be right one out of three. Your score, on the aver~ age, will be two out of five or 403. Tt ig on the basis of simple secrets such as this that reputations are made. ~1219—Reflections tn the early 1950's T read an amazing trick of Robert Parrish's in which a washed slate was used as a re- flecting surface. The possibilities were staggering and for days I wandered around trying to devise an application that did not use slates. Then the thought came to mind that if T applied saliva to the thunb- nail, T could create a reflecting sur- face. This produced the following rou- tine. While you turn your back any on~ looker shuffles any deck. Since your back is, turned you have more than suf ficient cover to liberally moisten the right thumbnail with saliva. The deck is handéa to you back~ out, You take it with your LH. With the RU you remove the face card and take a blind guess as to color. But if you face the light, you wil get a reflection of the color of the face card of the deck in your thumbnail. The zelative posi- tion of the hands is shown in the Schmidt drawing here: / From this point on you can vor- xectly guess the color of every single card until the saliva begins to evapor- ate. When this happens, just hand the deck out for further shuffling, turn your back and re-moisten the thumbnail. If the light was bright I could get a fairly clear reflection of some cards. In particular, 1 could distin- guish low-value cards from high-value cards, and could always spot picture cards. Later the idea was expanded to the Gray-coded deck. after guessing 6 cards from a randomly cut deck, I knew exactly where I was in the stack and could then go on to name values and suite. This is as far as T took it.put about a year ago, when T described the idea to Martin Gardner, he said it might work with PSP cards. Martin found an ESP deck, and after about one minute of practice, ho was reading the symbols one after another. this gives you @ perfect follow-up to the first test above, Check the Walsh suggestion with clear fingernail polish in Phoenix 325, pg. 111, for another shiner. Am sure there's an earlier reference, but can= net locate it at this writing. In a letter just received, J. K. Hartman wrote as follows: "Recently i've been working on sleight-free stutf- the idea being not to replace sleight of hand with other solutions, but to evolve tricks in which the addition of sleights would not improve, make more direct or effective, etc." ‘This brought to mind an idea of some years back, to run a regular col- umn devoted to strictly self-working tricks. Quite a while back Bob Fagle pinpointed the exact problem connect~ ed with such a column- what is a self working trick? If it uses the overhand shuffle and you don't know the over- hand shuffle, is it self-working from your standpoint? Tf you have to take the deck out of the case- just that and nothing else- is it self-working? Reader comment would be appreciated. ~1220-is hoped that the routine in its Present oes Casale APS OSE generally. KF) = ‘pack. per-band | jumps to ee so that it See E Jumps to a posi jon around a | e i. This card proves to be the chose 3 | bd asuna the decks As the i places ‘the band over the deck, ight on “you: going to snap the rubber- sk, the left 4th Yeleases the bottom or face card of its half. This is the chosen card.Renark that by a process of elimi- nation you are going to narrow in on the chosen card. Say, “We can elimin- ate the top half.” This next must be done in a quick smooth action. The RH slides the balan- ce of the top half above the chosen card forward slightly, leaving the cho- sen card behind. The right thunb and ist finger grasp the upper half, Fig.3, and slide it forward and clear of the balance of the deck. Senet 4. The LH retains the rubber-band in place. The RH slaps its half face- up on the bottom half, Fig. 4. Allow the audience to see that the rubber- band has jumped to a position around the bottom half of the deck. 5. Table the top half of the deck and then allow the audience to see that the rubber-band has jumped to the bot~ tom half. This is indicated in Fig. 5. The heel of the left thumb and the left alas 4 ie * j fingers cover the sides of the deck and ‘thus conceal the true situation at this point. 6. Now the audience will be wateh~ ing closely, but in terms of method the trick is done. The Ril grasps the top card of the LH packet from above and pulls or "rips" the card sharply up and away from the deck, Fig. 6. The effect is that the rubbex-band has jumped off the bottom half of the deck and now en- civeles a single card. 5 All that remains is to turn this card face-up and show it is the chosen card. A startling effect achieved with- out sleights or gimmicks. You can now follow with the Schmiat/rulves "Impromp- tu Haunted Deck," back on pg. 704, or The Nagic Book, pg. 74, where a version called "Flash Aces” is described. I'11 close with a simple unsolved problem involving a rubber-band. I'd like to place a packet of cards into a card box and later remove the packet. But when the packet is removed, there is a rubber-band encixeling the packet. ‘Thus the problem is one of secretly loading a rubber-band around a packet of cards. Of course there are methods, but I'm looking for a simple (prefer- ably no-gaff) method. 12225To an effect of Simon's called “pouble Rise" (see Effective Card Magic, pg. 139) Howard Schwarzman has added a kicker that lends considerable strength and all but makes it impossib- Je for anyone to backtrack to the meth~ od. Mr. Schwaraman has also provided details on the handling, details which make an already strong trick a knock- out. EEFECT: The AG is shown and placed on the table, face-down, to the left. The as is then shown and placed face~down on the table to the right. Half the deck is placed on top of each Ace. The spectator is asked to point to the AS. He points to the pac~ ket on the right. The magician shakes his head and turns up the top card of the packet on the left. Tt is the as. Similarly, the top card of the other packet is turned up to show the AC. The two black Aces are then dealt ‘off face-up onto the table. Picking up a packet in each hand, the magician remarks, "I know where the black Aces came from, but I don't Jmow where these came from." Turning up each half of the deck, he reveals a red Ace at the face of each. Method: 04@1y enough, the basic hand- Ling is the same as the original, ie, two triple lifts and a slip cut, so -1224- Howard Schwarzman NIGHT RISER you get the kicker with no additional moves. But there are important details in the Schwarzman routine that you should learn. There is a eck consisting set-up on top of the of the two red Aces Followed by the two black Aces. For this discussion assume the AC is 3rd from the top and the aS 4th from the top of the deck. 1. If you think it necessary you can give the deck a false shuffle and false cut, retaining top stock. Then place the deck facedown in IH deal- ing position. 2. Triple lift and turnover, to show the AC. Turn the triple cara face-down onto the deck and deal the top cara onto the table, face-down, to the left, Call thls the ac. 3. Triple 1ift and turnover to show the AS. Turn the triple card face-down on top of the deck. Deal ‘the top cara onto the table, face- down, to the right, calling it the as 4, The RH moves to a position ver the deck. The right thumb xif= fles up to about the midpoint of the deck. 5. The RH now takes the top half of the deck and brings it to the right. But in the process the left thumb retains the top card (the AC in our example) in place. This is @ standard in-the-hands slip cut known as the Downs Pass or the Frank Tane false cut. 6. The RH flashes the face card of its packet. This is done by turn- ing the RH palm-up, showing the card and then turning the RH palm-down a- gain. The spectator sees an indif- (Cont'd on pg.1223)Steve Mathews Reyond doubt this trick will be in theNow I let the rope hang as indica- ted in Fig. 1. I then take both ends with my right hand and pull straight down and state, "As you can see, the rope is around your finger." Z then let go of the rope again. This is done so they can see and feel the vope around their finger (and if stress- ed right, when they go to reconstruct it, they remember that you pulled the rope straight down). Then I explain it's all right for them to move their hand up and down, but. not to pull back, as you don't need an- other finger to add to your collection. The rope hanging on the right side is taken in the right hand and the rope on the left side with the left hand. Puli straight out so the rope is parallel to the ground, and apply light pressure. I now stress to then to relax. It is ver tant that their hand is con- Bletely relaxed.With Light pressure ap- plied, pull the rope sharply go it straightens out. The important thing here is that you don't relax the tension on the rope by bringing your hands in a Little and yanking out. This will hurt the spectator's finger. Even done right, they will feel it, but it doesn't hurt. since they do feel something, I state right after the pene- tration, "And you could feel the rope go right through your finger.” and they agree. After the rope has penetrated their finger, T let go of the rope and let it hang over their little finger so they can check all out. (At this point Steve goes on to ex- plain the trick he uses as a prelimin~ ary rope pentration. Joseph Schmidt and Harvey Rosenthal have pointed out that this routine is Ray Grismer's “Fingers” from the July 1976 Genii. KE) Notes By Karl Pulves ‘he trick can be done with string ox a silk. It can even be done with a shoelace. ‘The penetration can be up through the finger or down through the finger. If you do the handling of Steps 1,/2,3 =1227- with the rope on the spectator's fore~ finger, the rope will penetrate up and will therefore come free. Slydini suggests draping the rope between the spectator's middle finger and ring finger. You can show that the rope pene- tates a finger but not a finger ring. ‘Thréad the rope thru a ring, then slip the ring onto the spectator's little finger. co thru the handling of Steps 12,3, and you will achieve the desired effect. There are more con— plex routines using a finger ring but they won't be covered at this time. A unique condition applied to this trick is that it must be pract- iced with a willing (and trusting) spectator. The reason why the trick works is that the rope slips off the finger. This is due to the natural flexibility of the finger. It happens instantly, too fast for the eye to catch. ‘The odd thing is that the spectator can't tell by sense of touch that his finger moves out of the way. Perhaps the same effect can be achieved with a rubber wand; this is auagested mainly as a way of practicing the trick without maiming your trusting assistant. With the rope in place as in Pig. 1, there is a curious circum stance that arises, and can be used for comedy purposes. The spectator cannot actually get a clear picture of the rope on his finger because his own hand blocks the view.ne can't see er the to all : i‘The other version was to upjog 4 Aces and a Jack. The Aces are placed in a row on the table, facedown. ‘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 euces 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 card is removed from the pocket. It is ved-hacked. 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-backea deck. The deck is spread face-down on the table. Tt has changed to red backs. There is a face-up 6H in the center, the presumed prediction card of a mo- ment ago. But when it ig turned over, its back has changed to blue. $0, down to basics, you start with a red-backed prediction card 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 “fechnico- lor Card” routine, which I got at Tannen's. Method: Remove the red-hacked 6H from a red-backed deck and place it in the pocket. Remove the blue-backed 6 from a 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. urn the deck face-up and give it an overhand shuffle. But make sure that the left fingers ‘Yetain 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 cara case, so the color is re-inforcea. 3. Remove the red-backea 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 dack face-up. Place the face-down 6% 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 71229-the left outer corner until the specta~ tor calls stop. Regardless of whore 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 card into view as the top card of the RH packet. Say to the spectator, "You stopped me on this card." 8. Turn the RH palm—down. Ask the spectator to remove his card. He will remove the back card of the face-up packet, the blue-backed GH, After he has done this, replace the RH cards on top of the Lil cards. 9. Have the spectator place his card face-up on the table. Spread the deck face-up and remove the face-down 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 cara 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 cara matched the card he chose. 12. Square up the tuo cards, but leave them face-to-face, blue card up- Permost. Drop the face-up deck on top of the two cards and immediately cut 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 home, 14. "The deck is blue-backed," you say, “But if we wait just a second. Pause, then flip the deck over. Tmned~ jately 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 card 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. It 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 calle "Technicolor card.” KF) 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 ag the effact 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-ed, the billiard ball is seen to be on top of the silk which previously cov- ered it, having apparently penetrated right through. ements: A candlestick, two silk handkerchiefs of 1ike hue, but one 12" square, the other 13" square, a bill- jard ball, @ large, dark coloured handkerchief, Exeparation: Place the 12" silk behind the 13° silk. Method: Show the candlestick, pick up ‘the two silks as one and throw them o- ver the candlestick, the smaller silk being on the underside. Pick up the candlestick and show on all sides. Now pick up the billiard ball and place it under the top silk only, performing this action from the rear. 13" sik again 2 show on all 12" Sui. sides. Now cover all with the large handkerchief. Make the magic spell and remove the (section) large handkerchief, carrying the top silk with it. Throw the large handker- chief aside, and show that the ball has passed through the silk on the candle- stick. (the trick as I saw it done went as follows. An ordinary drinking glass was on the table mouth up. The double silk was draped over the mouth of the glass. The double silk was blue. ‘The magician lifted the rear corn- er of the upper silk and placed the billiard ball on top of the glass. In fact the ball was now between the two silks. The ball was red. The apparatus was now covered with a larger silk. The magician lifted the large silk plus the upper duplicate silk ftom in back, then snapped then away to show the billiard ball now resting on top of the blue silk. ‘The ball and silk were immediately -1231- taken from the glass and the magician then performed a series of bali-thru- silk penetrations. At the finish, the blue silk was draped over the glass. ‘The ball was vanished. The silk was lifted and the ball found inside the glass. It was a knockout combination and I wish I could vemember the name of the fellow who performed the rou~ tine. KE) in-off ‘This is a new version of the safe- ty pin trick. In this method you can Jink the pins together, as well as separate them. Mo make and work the trick, pro- Ged as follows. Obtain two safety ping. They will probably be Like the ones shown in Fig. 1, with aguide inthe —— head portion. With cutting pliers remove the guide (1) and your safety pins will be as shown in Pig. 2. —= (2) Now refer to Fig. 3. Hold pin "8" in the left hand at the spring. end, the point of the gin being upwards. Hold pin "A" in the right ae hand at the spring With the back of {2 pin "A" strike point X of pin B very sharply. You will find that in a flash the eer two pins have become ome linked as in Fig. 4. /n To separate the pins, hola them as before, then (4) give them a sharp twist as indicated in Fig. 4, the back of pin “A" striking the point of pin "B". A. slight sliding motion of pin A to the right should be given as you hit pin B. This will separate the pins and you are ready to repeat. ‘The latter move will probably need a little practice before you get ‘the knack, but I can vouch for its practicability.