Friendly Fire by Ben Harris [PDF]

Zitiervorschau

magic and theory from the contributors to Ben Harris’

NEW DIRECTIONS MAGAZINE (1985-87) Jerry Andrus Ian Baxter Sixten Beme Mike Gallo Ron Hadley Steve Dusheck David Harkey Harry Lorayne Ed Marlo Daniel McCarthy Bill Nagler Jon Racherbaumer Jay Sankey Richard Sanders Craige McComb Snader, Jr.

142 pages fully illustrated

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You are authorized to keep one copy of this manuscript on your computer and to print a single copy for physical reference. All other rights reserved. The end user (you) agree to abide by international, territorial, state and local copyright laws in regards to the manuscript herein. You agree not to allow any part of this publication to be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, the internet, or otherwise, without the prior permission of the author in writing. You agree not to make this manuscript available via any P2P networks.

Ed Marlo and Ben Harris. Chicago, 1986 (from the author’s collection)

PHOTOGRAPHIC CREDITS page 16: Jerry Andrus and the author. (Photograph from the author’s collection) pages 27 and 32: Sixten Beme. (Photographs courtesy Christer Nilsson) page 34: Steve Dusheck. (Photograph courtesy Steve Dusheck) page 61: David Harkey and the author. Celebrating the creation of “Journey Through Time” (Photograph from the author’s collection) page 67: Harry Lorayne. (Photograph courtesy Harry Lorayne) pages 73 and 75: Ed Marlo. (Photographs by Jon Racherbaumer. Used with permission) page 102: Jon Racherbaumer. (Photograph by Mona Morrison, Used with permission) page 109: Jay Sankey and the author. (Photograph from the author’s collection)

magic and theory from the contributors to Ben Harris’

NEW DIRECTIONS MAGAZINE (1985-87)

Copyright © 1985 and 1987 by Ben Harris Digital Edition Copyright © 2010 by Ben Harris

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, the internet, or otherwise, without the prior permission of the author in writing. Published by Media T Marketing Pty Ltd PO Box 86, Northgate, 4013 Queensland, Australia www.wowbound.com

This digital edition edited by

Steve Shufton

INTRODUCTION: New Directions magazine was published between 1985 and 1987 with a total of six issues over two volumes. As the title suggested, the lofty purpose of the magazine was to seek “new directions.” And this was, hopefully, reflected in both the performance material AND the inclusion of stimulating essays. Much of the “guest” material for the first couple of issues was personally gathered during lecture tours over the 1985/86 period—while the balance resulted from written contributions—both solicited and unsolicited. Several effects “came in” as responses to essays and challenges previously posited in the magazine. They say, “variety is the spice of life”, and you’ll certainly find that here. We’ve got magic with cards, coins, matchboxes, dice, and more. Flourishes, quickies, and full performance pieces abound. Interestingly, we have a WIDE representation of performers. Some were well established at the time (Marlo, Racherbaumer, Lorayne, Andrus) while others were just emerging (Sankey, Sanders, Harkey, Gallo). These were exciting times—it was a buzz to be “breaking” material from the hot new performers of the day. Dig in and enjoy the ride! Ben Harris 2010

INDEX

INDEX JERRY ANDRUS Bizarre Shuffle A very strange shuffling procedure that is both mystifying and very funny. In Jerry’s hands this was liquid and smooth. page 17

IAN BAXTER CrackerJack Stack A multi-phase dice-stacking routine with a mentalism twist, and a striking vanish of FIVE dice! page 22

SIXTEN BEME Clean Guillotine A method for chopping off the tip of the finger that will fool anyone, magicians included. page 28

STEVE DUSHECK Quandry Is it a silver coin or a copper coin? Neither, it’s pure gold! A real worker’s routine that Steve has been using for decades! page 35

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MIKE GALLO Original, No Gaff, Reverse Matrix Mike Gallo’s now famous version of the Reverse Matrix. Inspired by Gertner’s classic, Mike eliminated any extras. Seriously, JUST 4 coins, and four cards are used. This is a lesson in direct, visual, and powerful coin work. page 41

RON HADLEY Flipping Triumph Ron cleverly applies a Looy Simonoff move to the “Triumph Plot” resulting in a stunningly tight and baffling routine. Neat and sweet. page 50

Matchbox Load A beautiful approach to secretly loading a coin (or a folded card) into a matchbox. This is straight from Ron’s pro performances in Sydney’s coolest nightclubs circa 1986. page 54

Two Quick Routines Two approaches allowing you to put Ron’s powerful loading technique to use. page 56

Spread-action Palm Ron applies some “Marlo-esque” thought to Harry Lorayne’s take on Le Paul’s Spread Pass. page 58

DAVID HARKEY Heat Vision In 1987 David was a new kid on the block and I was thrilled to be able to publish his revolutionary material in both New Directions, (and later, in Simplicities). Here is his amazing “Heat Vision” Routine! page 62 10

HARRY LORAYNE Simple Lie Detector A special treat here! I was to contribute to Harry’s magazine and books over the years, and to have him return the favor—with a contribution to my little magazine—was a thrill indeed. This is a simple, but effective, “Lie Detector” routine. Presented, of course, in Harry’s own words. page 68

ED MARLO Olram’s Hallucination The origin of the 'effect' per se, can be found in The Jinx No 1, October 1934 and it was an Eddie Clever concept. In the method to be described here Ed eliminates the Second Deal and the Palm. A modified gimmick is used, and the deck is encased by elastic bands. Also, the three selected cards are produced from different pockets. Five NON-GAFFED handlings then follow. page 76

The Upward Kick Ed takes on Ben’s notoriously tricky “SuperFlip” flourish and makes it a whole lot easier. Not to stop there, Ed then teaches 3 effects with the move! page 86

Flexible Bottom Lift A flexible multiple lift technique that works off the BOTTOM of the deck. page 91

DANIEL McCARTHY Spectator Cuts The Aces Based on Marlo’s “A Problem Posed” (36th method, New Tops, March 1962) this lovely handling convincingly allows four GENUINE cuts. page 95

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Dr. BILL NAGLER Ultimate Aces Bill describes an easy and effective “Ace Cutting” routine with a surprise finish. The method is also clever—it uses a Devano Deck. page 100

JON RACHERBAUMER Shaded Cards To Pockets A novel look at this plot taking cues from Duffie and Marlo. Two cards repeatedly fly to two different pockets. page 103

JAY SANKEY Back Spin Special This created a massive amount of interest when originally published in 1986. A coin is “backspun” across the table and it magically cuts the deck—locating a previous selection. page 110

JAY SANKEY/BEN HARRIS De-Crease This startling “Torn & Restored Card” handling grew out of a week-long session at a magic convention in Nashville. Highly visual, crease free, and with a great “sound”. page 114

JAY SANKEY Geller Card The precursor to Ben’s gaffed card version (1988). This non-gimmicked card bending “moment” is completely hands free, and requires careful “timing” more than any great skill. page 122

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JAY SANKEY/RICHARD SANDERS One For Fifty One An entire deck and a single card magically TRANSPOSE right in front of your eyes! Mind-boggling, and a sign of what was to come from the young Sankey/Sanders team. page 124

ESSAYS Finn Jon Magic/Photography/Chess page 131

Jay Sankey A Look At The Willing Suspension of Disbelief page 132 The Value of Material Fiction page 135

Craige McComb Snader., Jr Miracle Workers Unite page 139

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JERRY ANDRUS

JERRY ANDRUS Bizarre Shuffle Jerry had kept me up all night at the F.F.F.F. convention in New York. Watching this man was marvelous. Large hands, a bridge-sized deck, but he held the cards so gently. This particular shuffle flowed ever-so-smoothly when Jerry performed it. However, to many it may seem like the infamous “Perpetual Motion Coin Myth”. Effect: The ends of the cards are Faro Shuffled together. Then, when you go to coalesce the deck (springing them together to complete the shuffle) the deck sort of “un-shuffles” in a side-ways direction. Noting the anomaly, the performer turns the deck a quarter turn and again attempts to spring the cards into deck-like formation. However, once again the cards sort of “un-shuffle”—this time lengthwise! Finally, the cards do properly coalesce and the performer continues with his next effect. Method: Begin by Faro Shuffling the two halves of the deck together. The ends are interlaced by about an inch. Normally, to complete the shuffle, you would grasp the deck from above—thumb at the short end, and fingers at the far end. The deck would then be arched, and the cards would spring off into the left palm—coalescing into a decklike formation, Diagrams 1 and 2. However, for Jerry’s shuffle, you will instead grip the telescoped deck with the right thumb at the inner left corner, and the THIRD finger at the diagonally opposite corner. Diagram 3. The deck is then arched and the cards sprung into the hand below. Due to your particular grip, the packets will shoot through each other, 17

becoming side-jogged, Diagram 4. Once this novel “un-shuffle” has registered, rotate the assembly a quarter turn clockwise and re-grip the structure as you did for the first phase: right thumb at the inner left corner, and right third finger at the diagonally opposite corner. A repeat of the spring and flex procedure will again force the two halves of the deck to pass through each other, arriving back at the position shown in Diagram 3. The actions can be performed several times before friction causes the whole shebang to collapse upon itself. This lovely piece requires practice and a very light touch. Those conversant with “Pull Through” shuffles (as normally executed on the table) will be familiar with the touch required.

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IAN BAXTER

IAN BAXTER CrackerJack Stack Here’s a wonderful dice stacking routine. This builds in effect to a smashing climax when all five dice vanish! CrackerJack Stack has been seen by thousands of lay people over a good fifteen years! The routine assumes you have basic dice stacking

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routine is to be performed seated allowing the use of “lapping”.

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Line the dice along the table in front of you, but do so in a diagonal line. This forces

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the edges (or corners) of the dice to face the audience. (This nice psychological touch have more skill).

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Invert the cup and stack all five dice in the traditional manner, to the following beat: ONE, two, three, four. ONE, two, three, four, etc. (On 'one' you pick up a die, the other three swings are 'rest' swings. You then pick up the next die to the following count of 'one'.) Continue in this fashion until all five dice are picked up and stacked. Bring the cup to a halt and then reveal the stack to your audience.

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PHASE #2: With an extended finger, flick the dice off the stack one-at-a-time displaying the fragility of the tower. Align the dice as before and repeat the stack. This time though, halve the beat. Thus— ONE, two. ONE, two, etc—effectively quickening the pace. Then, reveal the stack as before. PHASE #3: This is a repeat of Phase #2, again picking up the pace. This time, pick up all five dice in a total of FIVE strokes. Again reveal the stack and then 'tumble' the dice. PHASE #4 The difficulty is apparently increased this time as you toss one die into the cup and then pick up the remaining four in PAIRS. Set the dice in a square formation. This way they may be picked up in pairs. Toss the fifth die into the up-turned cup and let it settle. When it does, quickly glimpse the visible face (the one that will become the bottom surface of the die WHEN the cup is turned mouth down) and deduct its value from 'seven.' (This will give you the value of the TOP surface of the die). Now stack the tabled formation of four dice to a ONE, two. ONE, two tempo. Centrifugal Force will keep the first die in place as the others are stacked beneath it. Pretend to peer through the top of the cup and name the spot value previously calculated. Lift the cup to show the stack. The spot value announced will be seen on the top die. This IS impressive! 23

PHASE #5 Tip the stack once more and ask a spectator to nominate any number from one to six. Again, subtract this from seven. If you can see the resulting number on the upper surface of one of the dice, you're in business. If you can't, simply tumble them a little until you have a die with the correct spot value uppermost. (Example: If someone requests ‘5’, you'll be searching for a die with a ‘2’ uppermost.) Once you have the correct die, place it in the mouth of the up-turned cup and let it slide to the bottom. Look at your audience and communicate with them as you do this. (This 'slide' will keep the die correctly orientated). Quickly set the remaining four dice into the square formation as before. Stack the dice as in the prior phase and then ask in an off-handed manner, "What was your number again?” When the answer comes, lift the cup revealing that the upper die shows the 'called' number! PHASE #6 Line up the five dice in a straight row from left to right. There should be about two inches between each die. Again, they should be twisted so that corners are facing the onlookers rather than flat edges. Execute the standard style pick-up of the five dice but do not lift the cup to reveal the stack. Ask a spectator for another number between one and six. Once you've received this, you have two possible 'outs.’— Number #1: You pick up the cup and actually have the correct number atop. This will happen quite often.

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Or, Number #2: You'll pick up the cup and a wrong number will be atop. At this point you use the gag that is more often used with cards. You say, "Ah, your number has come to the top but it has magically turned itself into a (insert number showing)..." This creates a good laugh and puts the audience in a correct mood for a shock climax.

As the audience is either laughing or shaking their heads in amazement, pick up the five dice and hold them in your right fist. Shake them gently and at the 'correct' moment, rest the hand in the lap. Deposit THREE dice in the lap and then bring your fist back into view. Don't let the shape of your hand change when the hand comes back from the lap. It should be held loosely as if it contained all five dice! Drop the two dice, as if five, into the mouth of the cup and continue to SHAKE the cup as you patter. The noise sells the illusion of all the dice being inside the cup. Turn the cup mouth down, slamming it onto the table. Ask the spectators to once again nominate a number. As they are doing this, steal the two dice from beneath the cup with the familiar “pea” move. Then, have a spectator place her hand on the top of the cup, pinning it to the table. Once again, have the chosen number called out. Then for the shock climax, allow the spectator to lift the cup, revealing the vanish!

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SIXTEN BEME

SIXTEN BEME Clean Guillotine In effect, three cards with holes through their centers are threaded onto the first finger of your right hand. After convincingly showing the arrangement, you slowly pull the middle card upwards right through the finger! All three cards are immediately left for examination. There are no gimmicked cards used. This is a real step forward in the evolution of this type of effect. Preparation: You'll need a false finger-tip. Sixten made his by cutting down a VERNET FINGER-TIP. The resulting Tip should be somewhat shorter than the outer joint of your first finger. Diagram 1. The Tip must also fit the third finger of your left hand. Paint the Tip to look as much like your own finger as possible. A VERNET TIP looks great with your finger inside, but tends to pale a little when empty. The three cards used should be Poker Sized. Cut a round hole in the middle of each two of the holes should be a little larger than the diameter of your False Fingertip and the hole in the third should be a little smaller than the widest part of the tip. This hole should “catch” or “bind” approximately in the middle of the False Fingertip. Performance: Secretly position the Tip on your right first finger. Display the three cards by fanning them in your right hand, faces on to the audience. Keep your right first finger against the back of the cards to avoid needless 28

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flashing. The card with the smallest hole must be on the front of the packet (audience side). Take the cards face-down into your left hand. Stretch out the right first finger and thread the top card of the now face-down packet onto it. (The hands work close together helping to 'shade' the Tip). Immediately take the next card and slide it over the False Tip. Leave it resting at the back end of the Tip. Finally, thread the last card, (the one with the small hole), allowing it to catch as you place it onto the False Finger-Tip. Move your hand from side to side to display the three cards threaded on your outstretched finger. With your left hand, steady the cards. As you do this, move your right thumb to the left long edge of the packet and your fingers to the opposite long end. Hold your first finger straight. Diagram 2. The position may feel a little awkward at first, but you’ll get used to it. Now place your left second finger on the face of the card closest to the audience. Let your left first finger come down between the front and middle cards. Your left thumb goes behind the middle card. So, you are now gripping the middle card between your thumb and first finger. Diagram 3. Simultaneously retract your first finger from the False Tip. The front card will hold the Tip in place and all will look as it should. The thumb and second finger hold the unit of cards in position. Diagram 4. The moment that your finger is freed from the Tip, take a firm grip on the center card with the left fingers and slowly pull it upwards. Continue to pull the card upwards until it clears the remaining two card unit. The perfect illusion of the card having penetrated the finger is created. Toss this freed card to a spectator for examination. 30

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You're now going to clean up in a very convincing manner. Re-insert the right first finger into the Tip. Insert the left fingers behind the front card, pushing the left thumb against the end of the Tip. Diagram 5. Now, smoothly withdraw your right first finger, and insert your left third finger into the Tip. The left hand maintains the card it's holding as the right hand moves away allowing the rear card to slowly slide off the extended first finger, onto the table. The first finger of the right hand is wiggled to display its solidarity and the dropped card is picked up. At the same time, the left fingers straighten, snapping the last card over as in Diagram 6. Thus the effect is completed. Naturally, all heat will be on the RIGHT hand and the cards. You are so far ahead of the audience that it's a delight! Do go to the trouble of making this up. It is brilliantly constructed and Sixten should be congratulated for evolving such a fine and convincing handling! And finally, a few words from Sixten I had to use a lot of words to describe this relatively quick routine. It should take about half a minute to perform. Thanks to the drawings of my friend Paul Malmstrom (Paul Malmer), you should have no trouble learning this routine. The moves are easy, and after a while you may like to adjust the handling a little to better suit your style and fingers.

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STEVE DUSHECK

STEVE DUSHECK Quandry This is a lovely routine that Steve came up with in 1967. He's still using it today so you know it must be good. The routine requires the use of “plated coins” and “double sided” coins. However, you CAN get away with regular coins instead, and the plating can be wonderfully simulated with marking pens. You can make up a set and get this into your act immediately. This “marking pen plating method” is something that Steve explored with several of his marketed effects. Preparation: I'll explain this using U.S. Currency. If need be, you'll have to adjust to suit your own country's money. You will need: 1 regular Quarter 1 Double Tailed Quarter 1 Double Headed Quarter 1 Quarter cut into 3 or 4 pieces. (If you remove the rubber band from a folding Quarter you’ll be set.) As already mentioned, you don't really need the Double Sided Coins. They assist on a subtle psychological level only. You can get away with preparing regular coins. The Double Tailed Coin must be COPPER PLATED on one side only. Use an ORANGE permanent Oil Marker to achieve this effect. The Double Headed Coin must be COPPER on one side and GOLD on the other. Use YELLOW marker to achieve the GOLD look. It even looks better than real gold plating. 35

Before the routine begins, place the Double Sided Coins in your lap. Or do as Steve did. He made a holder for them by folding a plastic drinking straw in half and taping the ends together. Diagram 1. The coins are wedged into this and it is pinned under the left jacket lapel. The pieces of CUT UP COIN are in your right hand jacket pocket. Performance: Show the regular Quarter being sure to show your hands completely empty. Rest your head on your left hand, the elbow being on the table. In this position it is easy to steal the C/S Double sided coin from the lapel. (Or, steal it from the lap.) Hold the regular Quarter at the extreme edge with your fingers together. Turn the hand so that the fingers point downwards and tap it against the table. Diagram 2. Continue to tap the coin until it vanishes behind the right fingers. (Simply let the fingers slide down to the table-top.) Diagram 3. Patter —“The early Alchemists tried to change base metals into gold. Let me show you what happened!” The hand holding the regular coin remains motionless with the fingertips touching the table. Request a spectator to place her hand over yours. As she reaches forward, draw back your hand and either sleeve or lap the coin. Patter to cover this is — “No, not that one, the other hand!” You'll find that this works perfectly. Once again return your right hand to the table as if it still held the coin. Have her place the now 'correct' hand over yours. After a few seconds reveal that the coin has vanished. You explain —”The Alchemists failed!”

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The empty right hand now pretends to pluck an invisible coin from the air. This is dropped into the left hand which is then opened to reveal the SILVER side of the C/S coin. Place this coin to the table and offer to try again—this time using the spectators 'other' hand. Lift the C/S coin and re-grip it as in Diagram 2. Tap it to the table and then let if fall flat on the table COPPER side up. This is concealed from the front by your fingers. Ask the spectator to rest her hand on yours. During this ample misdirection, the left hand steals the other gimmicked coin from the lapel. After a brief pause, lift your right hand and reveal the COPPER coin. (This is the beauty of Steve's idea of using a Double Tailed Coin here. They see a SILVER TAIL then a COPPER TAIL this helps rule out the possibility that you could be using double headed coins. Nice psychology!) The right hand pretends to place the COPPER coin into the left hand. In reality, the C/S coin is Thumb Palmed in the right hand as the left fingers open to reveal the COPPER side of the C/GOLD coin. Explain that you really didn't turn the coin into Copper, what you really did was turn it inside out. (U.S. Coins are Copper inside and Silver outside.) Explain that because Alchemy has failed you, you'll try magic instead. The right hand, with its palmed coin, reaches into the right jacket pocket, dumps the coin and comes out with either a small magic wand or pen. The left hand has closed into a fist turning the Copper coin GOLD side up. Wave the wand/pen over the hand and then slowly open it to reveal GOLD. “Victory”, you announce! The right hand now returns the wand/pen to the pocket and palms the small pieces from the “broken” Quarter. Hold the right hand in a loose fist and place the Gold 38

coin atop the fist. Allow it to sink into the hand into a position allowing it be instantly Thumb-palmed. Ask a spectator to hold your fist. Explain that she's holding on too tightly. As you do this, open the fist allowing the broken pieces to fall to the table. The Gold coin is held in Thumb-palm position and is not seen.

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MIKE GALLO

MIKE GALLO Original, No Gaff, Reverse Matrix This is a handling of the 'Matrix' style effect that has the NOW quite common 'instant reverse' at the tail. However, what makes this particular handling quite special is that it is the first such handling that Mike developed after seeing Paul Gertner perform his original “Reverse Matrix” (which used a few extras). Mike's own handling uses ONLY four coins and four cards. It created a sensation at the time. To start, simply have four coins in a row on the center of your closeup mat and four cards in a face-down fan in your left hand. Pick up one coin with the right fingers and raise the right hand with the coin to the underside of the fanned cards, DIAGRAM 1.

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Allow the right thumb to 'nip' the right-most card of the fan and then remove it with the coin held below. Lower the right hand card and covered coin placing the unit at position "A" on the mat. 41

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Note carefully, as in DIAGRAM 1 that the left hand is tilted upwards allowing the underside of the fan to show during the 'take'. Once the first coin/card is tabled, lower the left hand slightly so that the undersides of the three remaining cards are a little less visible. Holding the left hand as such, the right fingers pick up the second coin, raise it to the fan, place it beneath the now right-most card and then removes the unit, placing it at position "B". So far you have fairly tabled two coins with a card above and covering each. Once this second 'unit' is tabled, the left hand tilts down a little more so that the fan is parallel to the table, DIAGRAM 2.

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The right hand now picks up the third coin and you appear to raise it, cover it with a card and then table it as you've already done twice. However, this time you will 'steal' the third coin by reaching over with the ring finger of the left hand, DIAGRAM 3 (exposed view). Remember, the two cards are now being held parallel to the table 42

so the steal is executed below the cards and out of sight. The ring finger holds the coin on the underside of the left-most card as the right fingers remove the rightmost card (and supposedly the coin) and tables it at position "C". The fourth coin is now picked up and placed beneath the remaining card where it is then held in place by the right first finger. The thumb applies pressure from above holding both coins in place beneath the card. Table this card with its 'twin load' at position "D". The entire sequence should simply look as if you picked up and then tabled the four coins with a card over each at four different positions on the table. Nothing more, nothing less. THE ASSEMBLY: Pretend to magically 'pluck' the coin from beneath the card at position "A" and toss it towards the card at position "D". Execute the Schneider Pick-up Move with the right hand as it lifts card "A" to show the envanishment. At the same moment, the left hand lifts card "D" to display the appearance. The left hand card is now placed atop the right hand card freeing the left hand so that it may return to the two visible coins at "D" and adjust them so that they are side-byside, DIAGRAM 4. The left hand now returns to the right hand and removes the topmost card and at the same time it 'steals' the concealed coin from beneath the lower card. This is simple. Contact the coin with the extended middle finger from below and drag it along underneath the left hand card. Place this left hand card with its secret 'load' 43

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over the two coins at "D". Be careful that the coins do not 'talk'. Return the 'innocent' right hand card to its starting position at "A". For the second coin's fIight, the right hand pretends to pluck the coin from beneath card "B" and tosses it towards "D". To show the 'flight', the right hand picks up card "B" executing the Pick-up Move as the left hand lifts the card at "D" to show three coins. The left hand card is now rested on the right hand card so that the left hand is free to arrange the three coins at "D". They are in the shape depicted in DIAGRAM 5. This is your view. The left hand now returns to the right hand and removes the topmost card. However, it does NOT steal the coin from the right hand card this time. The 'innocent' left hand card is placed over the coins at "D" and the right hand card with its coin held below is returned to position "B". SETTING UP FOR THE DIS-ASSEMBLY: You will now apparently go into making the last coin, the coin at "C", travel to "D" to join the other three. However, during a pseudo-explanation of how the magic works, you'll actually set up for the dis-assembly. Here's how— Offer to explain the difference between illusion and reality. Say, "In reality, I can make the coins move about by sneaking my fingers beneath the card and slipping the coin in place!" Combine these actions with those words: the left hand lifts the card at "C" slightly (keeping the front edge on the table) and the right fingers slip underneath and apparently onto the coin. The fingers 'mime' pressing down onto the coin and sliding the coin along the mat and up to card "D". The left hand drops its card and then gently lifts card "D" allowing the right fingers (with the apparent coin seemingly pressed to the mat) to slip underneath. The right fingers, now below card "D", move over the VERTICAL pair, of coins and then drag them to the right so that 45

only the uppermost coin of the pair is in view. The other is concealed beneath the fingers, DIAGRAM 6. This diagram shows the hand having just been swung to the right. Simply treat the two coins as a single 'unit' and you can't go wrong. These actions leave one coin beneath the card at "D". The left hand now drops card "D" to the table and the right hand moves its two coin unit back towards "C" with only the one coin being exposed at the fingertips. The other coin simply rides along beneath the fingers. Card "C" is lifted (DIAGRAM 7) and the visible coin at the right fingertips is placed below it. As the left hand replaces its card over this coin, the concealed coin is Finger Palmed under the 'shade' provided by the covering card. The apparent 'return' of coin "C" to its starting position is covered with the following patter —”Ah, but that's the reality, here's the illusion!" THE DIS-ASSEMBLY: You must now move along at a fairly brisk, yet smooth pace. But firstly, here's a position check. You should have one coin beneath the cards at the following positions - "B", "C" & "D". You also have one coin in the right hand Finger Palm position. The left hand approaches card "D" and twists it so that one long edge faces the audience and then lifts it to reveal only one coin, DIAGRAM 8. This diagram also shows an exposed view of the palmed right hand coin. Just AS this card is lifted, the right hand, with its concealed coin, moves towards the card at "A". It is IMMEDIATELY swung so that a long edge is facing the audience (DIAGRAM 9) and as it is lifted, the right fingers straighten leaving the palmed coin on the table, DIAGRAM 10—this diagram is an exposed view of the coin being deposited!

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The load is 'shaded' by the misdirective shock of there only being one coin beneath card "D". Card "D" must be lifted a FRACTION of a second BEFORE card "A". Toss the two cards face-up to the center of your performing surface and then lift cards "B" & "C" to reveal the startling and almost visual scattering of the coins back to their starting positions, DIAGRAM 11. This is a very smooth and very 'tidy' handling. When Mike does it, it really does appear as if the coins almost VISUALLY flash back to their starting positions. This routine is a stunner and with a little practice you'll be able to do it anywhere, anytime without having to worry about shell coins.

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RON HADLEY

RON HADLEY Flipping Triumph In order to perform this you need to know Looy Simonoff’s “Flippant Move”. This is fully described in Apocalypse No. 9 on page 103. I'll give you a brief description here, at the correct part of the routine, but I do believe that you should check Apocalypse for the finer points of handling. To perform, you'll need a deck of cards and a close-up pad. The pad is optional, however you will be doing one Zarrow Shuffle so it may be required, depending upon your available skill. Have a card selected and then controlled to the deck's top. A good method would be a Peek plus a Pass of a suitable nature. Now spread the cards in Ribbon Spread fashion, face-down across the table. Have a nearby spectator indicate the center of the spread. Break the spread at this point and Domino Flip the cards below the indicated point, face-up. Square this portion placing the cards in front of the still face-down top end of the spread. Square the face-down portion of the spread. As you patter about half the cards being face-up and half being face-down, move the face-up block to the right of the facedown section. Slide the cards towards you in preparation for a tabled shuffle. Execute a Zarrow Shuffle returning all the face-up cards, as a block, below the top card of the face-down section. In front of you now, is a squared deck of cards that has apparently been mixed into a face-up face-down jumble. With the deck still tabled, cut at various depths to further sell the idea of a thoroughly mixed deck. Take the deck into left hand Dealer Grip, at the same time locating the central back50

to-back point and securing a left hand Pinky Break there. Claim that you will “magically cut” to the selected card. The right hand comes over the deck and pulls all the cards from above the break to the right. The left thumb retains the top card of the deck and allows it to fall onto the bottom half. A Pinky Break is picked up beneath this card (the selection), as it falls flush. In other words, you have performed a Slip Cut and secured a break below the former top card. The right hand cards are placed atop the left hand cards. The Pinky Break is maintained in the center, directly under the selection. These actions have caused a face-up card to appear atop the deck. However, you will be told that this is not the selected card. Explain that a little “magic should right matters”. It's here that you will perform “Flippant” with ALL the cards above the left hand Pinky Break. The results of this move will serve two purposes—and this is the brilliance behind Ron's thinking. Firstly, the incorrect card will visibly and instantly change into the selection. Secondly, this very action will also right the deck so that the cards may be spread to show a magical righting of the deck!

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Here's a brief description of “Flippant” as applicable to this effect. Look carefully at Diagram 1. This shows the Pinky Break and how the top half of the deck, that is, the cards above the break, are jammed slightly under the thumb pad. This is important. You are going to have to practice this. It can be done and done well! With the cards held as in the photo, you're going to perform two actions at the same time. The successfully combined effort will result in all the cards above the break instantly and invisibly turning over and landing back flush with the bottom half of the deck. Both these actions must blend perfectly. Firstly, you will let go of the top half. At exactly the same time, the left hand must jerk downwards and away from the released block. It's very important that your left hand only move down about 2 inches. The top block, because it was rammed against the thumb pad, will do a quick about-face bringing the selection into view. The hard part is bringing the left hand immediately back up to meet the now reversed block. The entire action should look like a quick and gentle shake. Remember, the left hand moves down and up in a quick flash. So, the incorrect card has now magically changed into the correct one! Explain that you're really pleased that the card selected is the (name the selection), because that's the "magic card"! Explain thatthis card is so “magical” that it can even right a grossly mis-shuffled deck. Snap the card off the top of the deck allowing it to fall face-up to the table. Snap your fingers over the cards and then Ribbon Spread them displaying the magical righting. A nicer ending (post Flippant) for those with the skill is as follows - lift the 52

face-up selection from the deck and explain its powers. Claim that if it's placed into the deck, the magic will work. Suit your action to the words, placing the selection face-up into the deck's middle. Secure a Pinky Break above it in the process. Gently shake the deck to initiate the magical process. After a little build up, perform a Classic Pass to bring the magic card back to the top. Ribbon Spread to end!

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RON HADLEY Matchbox Load This is a wonderful utility idea and it’s well worth recording the date that this was published (May, 1985). Whenever you need to secretly load a folded card or dollar bill into a matchbox, consider this a practical solution. Ron mentions that the hands can actually be 'burned' throughout the process—it's that clean. You’ll need a matchbox that has the same label or 'face' on both sides. If you work a regular restaurant and their boxes don't suit, it's easy to gimmick a box and ring it in. Assuming that you have either acquired or manufactured the required box, we'll proceed. Firstly, place a single match between the cover and the underside of the tray. Diagram 1. That's your only preparation. Close the box and have it on the table or in your pocket. You must be able to pick it up later with the “jammed under the tray” side facing UP! To load a playing card, steal it from the deck and fold it secretly into four via one of the accepted methods, for example, the “Mercury Card Fold” from Expert Card Technique. After this move, the folded card will be in the Finger Palm Position in the left hand. The right hand picks up the matchbox and places it into the left hand a little above the folded card. Diagram 2. The right fingers now push the tray of the box down towards yourself. This will open the upside down tray directly over the card. The hands are tilted slightly towards yourself to shade the false tray. Diagram 3. With the right fingers, cleanly remove the single pre-positioned match. The LEFT hand closes the box, loading the card. This is a ONE-HANDED action. Table the matchbox, secretly flipping it right side up, and you are done! 54

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RON HADLEY Two Quick Routines with the Matchbox Load The first of these is Ron's “Card To Matchbox”, directly from his professional work. It's modeled on existing themes, but it is clean. Have the prepared matchbox on the table. It must be 'right' side up. A card is chosen, signed and then apparently lost within the deck. In reality, steal the card and fold it into quarters via the above sited technique or any method that you currently use. Conspire to finish with the card concealed in Finger Palm Position in the left hand. Table the deck and pick up the matchbox in the right hand. You will load the card into the box as you remove a match. Explain that the match will be used to focus attention. Close the box, completing the load and secretly turn the box over. Use the removed match to punch a hole in the top of the matchbox. Strike the match and allow it to rest in an upright stance from the box. Place the magical box atop the deck. Ask everyone to focus thoughts of the selected card upon the flame. After a few seconds, blow the match out from a distance. Don't touch the box or match at all. Ask the audience to check "What's on top?" They'll assume that you mean the top of the deck. Naturally, they won't find their card there. Explain that you meant the matchbox. When they open this they'll find their very own selected, signed card! The second routine is “A Bill To Matchbox”. For this, you'll need a Purse Frame (this is without a bag), and the prepared matchbox. Both rest on the table. Borrow a $10.00 note and have it signed. Fold it into sixteenths and display it at the fingertips of the right hand. Pretend to place it into the left hand but retain it in a comfortable palm in the right. The right hand now “laps” the folded bill as it picks up the Purse frame. The frame is snapped open and the left hand drops the 56

supposed bill into it. Naturally, it disappears in the process. Claim that it has just become invisible and that you'll make it reappear and float out of the frame with the aid of a match. Here, you place the frame to the table. The right hand reaches for the matchbox as your left hand falls to the lap. The note is taken into left hand Finger Palm. This hand now approaches the right hand which has picked up the matchbox. Both hands meet about halfway and the box is placed into the left hand. The bill is loaded as per the original method (although, the hands are reversed), as the pre-set match is removed. Follow through with some byplay about your intended levitation from the Purse frame. After your failure, make the match vanish. Ask a nearby spectator to remove another one from the box. He'll flip when he discovers the signed note with the matchbox! Ron also suggests the following: Say that you're working a restaurant with identical matchboxes on the table. You're prepared with your preset box. This box is “finger palmed”. Switch your pre-set box for one on the table by dragging the tabled box towards yourself and allowing it to fall into the lap at the table's edge. You bring the palmed box into view. Continue with the loading moves as previously described.

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RON HADLEY Spread-action Palm Ron has taken Harry Lorayne’s handling of Le Paul’s “Spread-Pass” and applied some Marlo philosophy. You'll need to be familiar with the “Spread-Pass”. Consult Lorayne's Reputation Makers, or Daryl's Secrets Of A Puerto Rican Gambler, for details. Have a card selected and once it's remembered, break the spread for its return. The card is returned to the squared left hand portion of the deck, Diagram 1. As the right hand group is placed atop the left hand stock, the left forefinger pivots the bottom stock into the right hand. Diagram 2 shows the result. Make the usual comment about placing the [insert the name of the face card of the right hand portion] ONTO THE SELECTION, thus locking it into the middle of the deck. In reality, the chosen card is on the bottom of the right hand stock—it's resting on the palm and will be copped as the right hand stock is flipped over, book-wise, onto the left hand cards. Here's how: The right hand edges forward slightly. With practice you'll find that the chosen card will move forward with the hand. Diagram 3 shows a greatly exaggerated view. In reality, the card need only move forward a quarter of an inch. The right hand now folds its packet onto the left hand cards. During the action, the hand moves forward a little more. The selected card pivots off the front end of the deck into the right palm, Diagram 4. Ron tells me that he's whizzed this past many “learned workers”. The description I've given here is slightly modified from Ron's original. The mechanics given here work well for me. Thanks Ron for “passing” this gem along.

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DAVID HARKEY

DAVID HARKEY Heat Vision This routine from David Ray Harkey is superb. As David was not aware that the basic premise had already been established, he devised this independently. The framing, as well as the Superman concept, takes this pre-established idea to new heights. This is audience orientated, practical and effective material. The performer explains that although Superman had X-ray vision, which allowed him to see through most anything, he could not see through lead. However, he also had heat vision, which allowed him to melt through anything with his eyes. To this day no one knows why Superman didn't simply use his heat vision to melt through lead receptacles that were used against him. To illustrate his insight, the performer offers a sharpened lead pencil for examination. Then while staring at the pencil intently, he begins to slowly shake it up and down. After a few seconds, two scorch marks appear on the pencil, causing it to visibly bend several degrees. Since this appears, at this point, to be a familiar optical illusion, the performer dispels the thought by droppings the pencil to the table—where everyone can see that it REALLY is bent. This interlude piece is particularly suited to table hopping. It automatically resets for repeat performance, and ideally, should follow a routine that uses a pencil as a PENCIL. To prepare: You will need two pencils, one of which will need to be bent. To make such a bent pencil, firstly remove it’s steel collar by twisting it free with a plier and your fingers. 62

Now put on some gloves, and place the pencil in a microwave oven until the pencil begins to smoke. Remove the pencil, and while the lead is soft, gently bend the pencil into an arch with the lettering beneath the arch. The wood will make crackling sounds as you shape it. To prevent breaking the pencil, apply pressure in several places while the lead cools. Now, with a match, burn two scorch marks in the side of the pencil, 90° above the lettering, Diagram 1. To complete, replace the metal collar, and sharpen the pencil. Should the pencil begin to split, simply apply super glue to the split area. Place both this pencil and the regular pencil in your left hip pocket so that they lie opposite each other enabling you to discern between them by touch alone. Also, carry a coin in your right hip pocket. To perform: You will have allowed the regular pencil to be handled and examined within the context of your previous effect. Briefly explain that Superman's X-ray vision allowed him to see through almost any solid object. Now, under the guise of quickly searching for something 'solid,' you will switch the regular pencil for the bent one by means of a very simple pocket switch: Begin with the regular pencil in your left hand. Place both hands into their respective hip pockets as if searching for something. While your left hand is in the left hip pocket, switch the pencils, leaving the regular pencil and taking the bent one. Now withdraw both hands. The bent pencil is obscured from view in your left hand and the coin is displayed at your right fingertips. Drop your left hand naturally to the side as you hold the coin to your eyes, commenting that Superman had no problem seeing through most metals, but that he could not see through lead. 63

Return the coin to your right hip pocket. After explaining heat vision, and offering to illustrate your point, transfer the bent pencil to your right hand, gripping it near the center, like a table knife, with the pointed end exposed. Now turn slightly right, and extend your right arm out to the side. Take care that the bent pencil (most of it concealed by the hand) is held concavely, like a “smile.” This will ensure that the scorch marks are not exposed prematurely. While maintaining a fairly firm grip on the pencil, begin shaking it up and down as you comment, "It doesn't appear to be bending yet... that's because I'm not applying my heat vision. Now watch.” Feign staring at the pencil intently, and then relax your grip, so that you are now holding the pencil lightly between your right index finger and thumb. This will enable you to perform the age old optical illusion of bending a pencil as you gently shake it. Most people are familiar with this, Diagram 2. Because the pencil is being held concavely, it is top heavy, and during the shaking actions it will begin to shift to a convex position like a 'sad face.' This brings the scorch marks into view, Diagram 3. You can aid this process by slightly curling your right thumb so as to 'roll' the pencil. During this, mention to the spectators that if they look closely, they will actually see your heat vision scorch the pencil. Since the lettering is never seen during this sequence there is no background discrepancy—so the scorch marks seem to appear from thin air. Once you've completely stopped shaking the pencil, hold both ends between your hands and twist the pencil back and forth, clearly displaying the permanent bend. Then drop the pencil to the table for the spectators to examine.

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Finally, return the pencil to the left hip pocket in the same position it was at the outset.

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HARRY LORAYNE

HARRY LORAYNE Simple Lie Detector In Harry's own words: I guess I'm taking a chance calling this a 'simple' lie detector. To each his own, of course. To me, this is simple. I'm not a great fan of 'lie detector' effects in the first place. My all-time favorite is a concept called 'Voice Print' out of Best Of Friends Volume 1. However, aside from this, there are times when a simple Lie Detector Routine would 'fit'. I wanted something that wouldn't require too much thinking—I wanted to be able to do it drunk or sober. I came up with the following, which I 'can' present drunk or sober. Whether or not 'you' can is something you'll have to decide. It does require a couple of 'non-perfect' Faro Shuffles, some false shuffling, and a force or two. The necessary set-up is a simple one. During a preceding effect, get any 4-of-a-kind to the top of the deck. For teaching purposes, we'll assume that the four Sixes are on top—the, say, 6C on top of all. When ready to perform, shuffle the deck keeping the four sixes under control. Then, force one of the sixes. The easiest way, of course, is to force the top one, the 6C. The Riffle Force works fine here. Overhand Shuffle. running off and injogging the first card. Shuffle off. Form a break at the injog and do the Riffle Force. Cut the deck at the point of removal so that the remaining three sixes are back on top. Your spectator is holding, and/or looking at, the 6C. Say something to the effect that you want to be sure the cards are thoroughly mixed. And—do two Faro Shuffles. These must be 'out' shuffles and only the top three cards must interlace the first time—and only the top five cards the second time. I use (I believe it's a Marlo idea) 68

Straddle Shuffles. Cut a small packet of cards from the top and Faro it into the larger portion. Interlace only about an inch or so. Strip out the interlaced cards Diagram 1—and drop this elongated portion on top. Flush and square. Do it again. You're in required position. If you want to check: There's a six-spot on top, three X cards, a six-spot, three X cards, and a six-spot. Do one quick Overhand Jog Shuffle, keeping at least the top nine cards in place. 'Kick' (swing) Cut the top half into your left hand and ask your spectator to place his card onto the left hand portion. Place the right hand portion onto his card, keeping a momentary break between portions. Double Cut to the break. The selected card (6C) is on top followed by the 'set-up.' Say, "The number thirteen is a mystic number. It will help me distinguish a lie from the truth. I'll need thirteen cards —'any' thirteen cards.” Do one Overhand Shuffle, injogging the first card you run. Square, obtaining a break beneath the injogged card. Start to cut small packets from the top onto the table, asking your spectator to say 'Stop.' Time it so that when he does stop you, you're cutting at the break. Count off, onto the table, one at a time thirteen cards; their order is reversed. The condition of the thirteen cards, at this moment, from top down—is: xxx6xxx6xxx6xxx6.6C. Holding the packet face-down in dealing position do the usual patter for a Lie Detector effect. "I'll ask you a few questions... you can lie or tell the truth... don't change the tone of your voice... etc." Ask, "Is your card odd or even?" Spell the answer, from the top of the thirteen card packet, one card at a time. If you spell 'o-d-d,' turn the 'next' card face-up and table it above (north of) the spelled cards. It will be a six spot. If you spell 'e-v-e-n,' turn up 69

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the card that 'falls' on the 'n.' Table this card north. Same handling. No big memory problem; you know that the six-spot is 4th from the top - work accordingly, with no hesitation. I make a remark about the suit of the six-spot—I do not mention that it's the same value as his selection. I'll touch on those remarks in Afterthoughts. Right now, to keep it simple, "This is a (say) Heart; that tells me that you're lying (or telling the truth). Your card is not (or is) odd (or even)." Next question: "Is your card a low value or a high value? You can lie or tell the truth." Do exactly as you did for 'odd' or 'even.' The next six-spot is, again, fourth from the top. After that, there are five cards remaining in your hands. Last question: "Is your card black or red. Lie or tell the truth." For 'Red,' no change is necessary. Spell 'r-e-d,' deal the 'next' card face up with the first two sixes - make your remark showing that you know whether he or she lied or told the truth, then - "And, all that tells me that your card, the Six of Clubs, is right here!" Turn over the card remaining in your hand. Let's get back to the final position so that I can explain what I do if the answer is 'Black.' You're holding five cards: XXX6.6C., and your spectator says "Black." Immediately say, "This works no matter how the cards are mixed - even now." One Hand Fan the five cards with your right hand. Hold the outer ends of the cards with your left hand as your right hand takes the bottom two cards and interlaces them into the other three. Diagram 2. Square. "I can even spell your answer with every 'other' card, like this..." Deal the top card onto the face-down already spelled cards, as you say, 'B.' Duck the next card to the bottom of the still held packet. Deal/Spell the next card — 'L.' Duck the next card. Deal/Spell 'A.' Duck. Deal/Spell 'C.' There's one card left the non-selected six-spot. 71

Say 'K,' and deal it face-up near the other two sixes. Make your remark about a lie or the truth. End as for 'red;' turn up the top card of the tabled packet—the SIX OF CLUBS. I do not mention the other three sixes; that speaks for itself. I just look tongue-in-cheek surprised!

AFTERTHOUGHTS What I must impress upon you is that all shuffling, the forces, etc, must be done casually and at a fairly brisk pace. The whole point is that this is happening from a thoroughly shuffled deck. At the point where you need the thirteen cards, you can simply false shuffle or false cut, then count off the top thirteen. I prefer to force the location, as explained. Be careful with the Deal/Duck spelling of 'Black.' There's a tendency to 'spell' as you 'duck' a card, particularly with the last couple of letters. Spell only as you 'deal' onto the tabled packet.

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ED MARLO

ED MARLO Olram’s Hallucination (Six Methods)

Effect: Three spectators peek at the top card of the deck in succession. The process is fair as the deck is constrained—both crosswise and lengthwise—with rubber bands. Equating the procedure with the unreliable eye-witness reports gathered from “accident scenes” for example, the performer makes his point: 1:

The three spectators are asked to name the card thy peeked at. All three name DIFFERENT CARDS.

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The performer fairly shows the top card, IT IS THE JOKER.

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The performer reproduces ALL THREE NAMED CARDS FROM HIS POCKETS!

The origin of the 'effect' per se, can be found in THE JINX No 1, October 1934. It was an EDDIE CLEVER concept and while it boasted a non-sleight method, it did use a form of Second Deal, a Palm, as well as a Triple Indexed card with a missing corner. This was to make the Second a little easier. The method to be described here eliminates the Second Deal and the Palm. A modified gimmick is used and the effect is enhanced as the deck is encased by elastic bands. Also, the three selected cards are produced from different pockets. 76

Gimmicked Method: The revised gimmick consists of a regular Joker that has been mildly trimmed at both short ends. Onto the back of this you affix a Double Ended, Double Index Card. This card is displayed in Diagram 1.

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Only affix the card along its middle portion. You must be able to lift the card at either end so as to allow a Peek. The gimmicked card can now be handled quite freely as one card. The gimmicked card is placed face-down atop the deck and the three cards that are represented by the gaff are removed and placed in separate pockets. You will also require a few rubber bands.

To Perform: To present the effect you can freely shuffle and locate the gimmick by feel. It is then cut to the top. A spectator can freely shuffle if you wish. He won't discover the 'work'. Anyway, secretly arrive with the gimmick atop the deck and then proceed. Another method to arrive at the starting position is to have the spectator shuffle and then take the cards from him. Openly spread through the face-down deck, 77

locate the gaff by feel and openly transfer it to the top. This is quite disarming. Patter - "We'll just use one of these cards here.” Openly reverse the bottom card of the deck, leaving it on the bottom. Now snap the two rubber bands around the deck. Place one lengthwise and one widthwise. Patter about the top card of the deck representing an auto accident. Mention that you require three witnesses to view the incident. Have the top gimmick positioned so that the 6H/4H indexes are at the outer end of the deck. Hold the cards with your thumb on top and fingers below. Assuming that everything is set to go, your left hand offers the outer right corner of the deck to a spectator on your right. Have him lift the top card to Peek its identity. Due to the Joker being shortened, he can't miss. Have him remember the card. In this instance, it will be the 6H. Move towards a spectator on your left. Have him Peek at the top card's outer left corner. To ensure that he lifts the left corner, firstly half lift it yourself and then allow it to snap back flat. This will prompt him to lift the same corner! Patter -"You have a look too!" (The discrepancy here is nicely concealed by the fact that the index on the bottom card was seen to have been positioned on the left hand side during the action of turning it over!). As you look around for a third spectator, casually turn or twist the deck around so that the KS half is outermost. Have the third spectator Peek and remember this card. Table the deck cleanly as you draw attention to the fact that three people have each observed the same accident while the deck was under stringent controls (banded).

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Propose a question as to the reliability of the witnesses as you remove the bands. Leaving the deck tabled, ask each spectator to call out the card they observed. They will all call out different cards! This forms your first climax. Turn over the top card (gaff) allowing it to fall back Face-up onto the tabled deck. It shows as the Joker. Climax number two! Remove the three pre-pocketed cards as you explain that they each witnessed a different accident - one on the northside, one on the southside and one to the east!

Non-Gimmicked Version #1 Locate and then control the Joker to the bottom of the deck. Do this secretly as you shuffle. Table the deck and have a spectator cut the cards. Pick up the original top portion from above in your right hand. Hold the cards by their ends and allow them to dribble into the left hand. As you do this, comment, "You could have cut at any point!" In re-squaring these cards, secure a left 4th-finger break below the top two cards. Have a spectator look at and remember the TOP card of the still tabled packet. Use the presentational patter outlined in the original OLRAM'S HALLUCINATION during this business. As the spectator is occupied, Palm the top two cards from the left hand packet into Right Hand Classic Palm position. Once he has noted his card, have it returned Face-down atop the tabled group.

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As you ask the spectator to be sure to remember his card, table the left hand packet to the LEFT and allow the right hand to load its two palmed cards onto the originally tabled packet. In the same action, the right hand picks up the tabled group and hands it to a nearby spectator. Ask him to look at the top card and remember its identity. (Naturally, he is now looking at the top card of the just loaded pair.) Ask him to replace the card and return the packet to you. On getting this packet back, hold it in the left hand with all four fingers along the right side. With the right first and second fingers lift up the top two cards at the outer end and move them forward, as if one, into an out-jogged position. Do this as you ask a third 'witness' to view the 'top card.’ Raise the deck allowing a third spectator a glimpse. After he has noted the card, lower the left hand. The right hand will now apparently deal the top, out-jogged card to the table. In reality, a simple Bottom Deal is executed as follows. The right hand comes over the deck and directly in front of the out-jogged card(s). As soon as the card is shielded, the right hand pushes the out-jogged pair back onto the deck as the third or second finger contacts the Joker pulling it directly outwards. See Diagrams 2 and 3. This Joker is tabled and the remaining cards are placed back onto the previously tabled talon*. Now, while each spectator is naming the card that he sighted, casually cut the deck's top card to the bottom. Palm it in the left hand. (This hand retains the deck which provides cover.) Once all three cards have been named, (and the obscurity of the situation has struck home), allow the right hand to reach forward to turn the Joker Face-up.

*a word not often seen now-a-days! It means “packet of cards” and is very 1970’s!

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You will now produce the three actual selections from three different pockets. Now, it is the usual procedure for the magician to execute the Top Palm while attention is on the tabled card. Don't, someone might just see it pop up into the palm. Instead, straighten the forefinger, palming the card AS the right hand moves the deck towards the left hand. Ensure that the card IS palmed before the hands meet. This way, the deck can be dropped directly into the left hand without any tell-tale pauses. The right hand produces its card from the outside right hand jacket pocket. Toss it Face-up to the table. The right hand now grasps the outer end of the deck as you either execute The Hugard Top Palm or The Marlo Technique, (see Marlo Without Tears under Future Classic Palm). The left hand now produces this copped card from the inner right jacket pocket.

Non-Gimmicked Version #2 This is very direct and will play for a lay audience better than any magical crowd. As with the first method, move the Joker to the deck's bottom and keep it there throughout any shuffling. Hand the deck to the first spectator and ask him to look at the top card, remember it and replace it. Take the deck back and as you look over the audience for a second spectator, Side-Steal a card from the middle and load it atop the deck. (This is easily covered by your 'looking' misdirection.)

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Hand the deck to spectator number two and ask him to note the top card. On taking the deck back from him, repeat the Side-Steal, loading another card on top. Hand the deck to a third spectator and ask him to note the top card. Once he has done this, take the deck back and Side-Steal the bottom card, (the Joker), to the top. Cleanly deal this card to the table. Proceed from here as in METHOD #1.

Non-Gimmicked Version #3 In this version, you hold out three cards from the deck. The Joker is the central card of these three which are stored in your right hand coat pocket until needed. Hand the deck to spectator number one. Ask him to shuffle and cut the cards and then note the top card. During all of this you have ample time to Palm the three card packet in your pocket. When the deck is returned, you accept it with your left hand as the right hand comes over and 'caps' the deck with the palmed triplet. This is done under the guise of squaring the cards. Hand the deck to a second spectator and ask him to note the top card. Once he has done so, take back the deck and look around for a third helper. As you do so, secure a left 4th finger break below the top three cards. (Either use a pinky count or simply push the cards off, secure the break and then pull them back flush.) The right hand now lifts the top three cards as if one and shows it (them) to spectator number three. (Do this by inserting the second and third fingers of the right hand into the break. The right thumb holds the cards together from above). Replace the third card(s) and then use a Second Deal to deal the Joker to the table. Proceed now as in METHOD #1. 83

Non-Gimmicked Version #4 Here the Joker is 4th from the top of the deck. The performer must also be seated at a table. The deck is shuffled and the top four cards maintained in position. Hand the deck to spectator number one and ask him to note the top card. On getting the deck back, Palm this card and then Lap it. Hand the deck to spectator number two and have him remember the top card. On receiving the deck back, repeat the Palm/Lap sequence. Have spectator number three remember the top card. When you get the deck back, Palm his card into the Right Hand Classic palm and RETAIN it. The left hand now moves forward and thumbs the Joker to the table. The deck is now tabled and the left hand moves back to the Joker to turn it face-up. Allow the right hand to remove its already Palmed card from the right side coat pocket. During the process, the left hand drops to the lap and casually Palms one of the selections residing there. The right hand card is tossed Face-up to the table and then the left hand moves upwards to remove its Palmed card from the inside, right hand jacket pocket. During this action the right hand Palms the last card in the lap and then pretends to remove this from the inside, left hand jacket pocket.

Non-Gimmicked Version #5 This is almost identical to the above method except that only the first noted card is Palmed and then Lapped. 84

The second noted card is Classic Palmed and the third is actually dealt to the table. To conclude the effect, the left hand, with deck, executes a CURRY CHANGE* with the tabled card thus revealing the Joker. The right hand now produces its card from the left, inside jacket pocket. A Hugard Top Palm is used to produce the top card of the deck from the inner right jacket pocket. The right hand, which has now taken the deck, must table it prior to the removal of card 'two' from the right pocket. This has left the right hand free so that it can drop to the lap to secure card number three. This card is finally produced from the right side pocket.

FINAL WORDS While none of these five methods are as clean and easy as the original Gimmicked Version of “OLRAM'S HALLUCINATION”, they should be considered in the event that you may be without the gaff or had simply not bothered to make one up.

*Developed by 1940, find this in Paul Curry’s World’s Beyond. Harry Lorayne’s Close-Up Card Magic is another source.

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ED MARLO The Upward Kick In the first issue of New Directions, Ben Harris had an item entitled 'SuperFlip'. The basic idea was to cause a card to suddenly appear face-up on the top of the deck as the cards were dribbled to the table with one hand. The method to be described here, is not only easy but has a greater flexibility of application which will be described. Assume that the selected card is on the top of the deck. Hold the deck in the right hand from above. Hold it by the short ends near the inner and outer RIGHT corners. The right thumb has a break at the inner end below the top card. The left hand moves to the table so that its little finger side rests against the tabletop. The left thumb is uppermost and the right hand holds the deck so that it is slightly above and to the right of the left thumb. Diagram 1 shows the cards and the hands in the correct positions. (In this photo, some of the cards are shown as having already been dribbled to the table.) OK, 'dribble' is what you do. Allow the cards to escape and dribble to the table. As soon as only one card remains in the right hand, the left thumb moves upwards slightly to contact the left side of the card. Diagram 2 shows how the thumb contacts the card and how it starts to pivot upwards. At once, both hands move apart in a magical gesture, Diagram 3. The final card will have now completed its revolution and landed face-up atop the deck. That's the basic move.

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EFFECT #1 This is fairly standard but none-the-less impressive. (Note from Ben: I've been trying to work this into my original one handed method but without any luck. Ed's solution here is great!)* Control a selection to the position of second from the top. Flip over the top card and show that it is not the chosen one. Secure a break below the top two back-to-back cards. Execute THE UPWARD KICK with the pair and you've got a visual change of the incorrect card to the correct one!

EFFECT #2 Here, four indifferent cards change to the Four Aces. To start, have the Four Aces face-down atop the deck. Spread the deck having four cards freely selected and removed. Close the spread and place the four selections face-up atop the deck. In a further display action, spread the top eight cards and secure a pinky break beneath them as they are re-squared. Transfer the break to the right thumb and then go into THE UPWARD KICK. This will cause all eight cards to flip. The illusion being that the four 'X' cards have visually changed into the Four Aces.

*I did eventually solve the problem of doing this with one hand. The solution became known as SFUC and was published in Off The Wall (1988) .

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EFFECT #3 This is probably the best of the lot as the turning of the cards will be more or less secret. This will become clear as we proceed. Have the Four Aces face-up atop the deck. Onto these place either a Double Backed card or a face-to-face pair. (This simulates the Double Backer.) Have four cards freely selected and placed face-down atop the deck. Use the natural back-to-back break to obtain a break below the Four Aces. Transfer the break to the right thumb and then do THE UPWARD KICK. Since a back will show after the dribble, nothing will appear to have changed. Riffle the outer end of the deck for effect, and then deal the top four cards to the table. Flip these over to show ACES! You now have the original four selections face-up under a Double Backed card. You could just cut the deck and then reveal the four selections face-up in the middle; however, the following is preferable: Using the natural back-to-back break, secure a left 4th finger break below the four face-up cards. The right hand picks up the Four Aces and fans them. Bring the faceup Ace fan against the top of the deck. The right first and second finger immediately enter the break and the right hand flips all the cards over onto the deck. Flip them over into a slightly injogged condition. The right hand now squares the cards. During this action the right thumb lifts up on the injogged cards so that the left 4th finger may obtain a break below them. The right hand now takes the top four cards, one-at-a-time and inserts them into different parts of the deck. (To the audience, you've placed the Aces throughout the 89

full deck.) Take the deck with the right hand, from above. The break is transferred to the right thumb. Go into THE UPWARD KICK, dribbling the cards to the table. Execute 'the move' on the block above the break. The effect is that the Aces have visually appeared on top of the deck. Pick up the deck and casually deal the Aces to the table! You now have a Double Backed card, either regular or impromptu, atop the deck. Use this in a following effect or 'cop' it. If it's an impromptu Double Backer; that is, two cards face-to-face, use K M to clean up.

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ED MARLO Flexible Bottom Lift There have already been several methods of removing the bottom two cards of a face-down deck as one (Bottom Double Lift). The latest method was by Ben Harris in New Directions #5. The following method is another, to add to the list. It can be used for 'Double' or 'Multiple Lifts'. Spreading the deck between both hands, you will either hold the cards to allow the faces to be seen only by yourself, or by the audience. This depends upon your 'context of use'. In some routines it may not matter if the audience sees more than just the face card. Let's assume that the face card is the Ten of Spades and that it doesn't matter if the audience sees the other cards. In this case, spread the face-up cards between both hands and say "I could use any of these cards, but I will use this 10S." As you close the spread, the left 4th fingertip obtains a break below the second card from the face. (This example is for a Double.) Maintain the left 4th fingertip break as the right hand comes over to grasp the ends of the deck, turning it sideways, to the right and face-down. Due to the break being held, the (now) bottom two cards will pivot as if one to the right. Diagram 1. This diagram also displays the position of both hands around the deck at this stage. The left hand now supports the deck, leaving the right hand free to grasp the sidejogged card(s) at their center, right side, with thumb on top and 1st and 2nd fingers below. The right fingers now start to remove the card(s) as in Diagram 2. Once the right hand has removed the bottom card(s), the left thumb and fingers pull the deck 91

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into the left hand Mechanic's Grip. The right hand, turning palm down, turns the card(s) face-up above the deck. The left thumb, 2nd, 3rd, and 4th fingers hold (or cage) the card(s) in Tent Position atop the deck thus displaying the face. The first finger is at the outer end of the card(s). After the brief display, the right hand grasps the inner right corner of the 10S card(s), with thumb on the face and fingers below. The card(s) is now turned face-down onto the top of the deck. How you use this situation is up to you. Obviously, the method can be used for a greater number of cards. The advantage of this procedure is that while the spectators see other cards, besides the face card, they can't see that you have removed more than the face card. If you do not want to expose other cards then hold the deck with the faces towards yourself in order to obtain the break.

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ANIEL McCARTHY

DANIEL McCARTHY Spectator Cuts The Aces This is based on Marlo's, A Problem Posed (36th method, New Tops, March 1962 pg 22) and a condition Marlo posed in Kabbala (Vol 1. no 4, pg 25 'Lead In Ace Cutting') of having a spectator cut the deck four times to locate the Aces. The handling is simple and direct with a subtle lead-in that sells that the deck is really cut four times rather than three. Start with the four Aces on the bottom of the deck. Or, if you prefer, hold them out, have the deck shuffled and then add them secretly to the deck's bottom. With the Aces on the bottom, casually cut the deck and catch a pinky break below the Aces as you complete the cut. Transfer the deck to the right hand Biddle Grip taking the break with the right thumb. Turn the hand at the wrist to show the bottom card of the deck. Comment, "This is the bottom card, the...[name it]." Transfer the deck back into the left hand Mechanic's Grip taking the break with the left pinky. Allow the right hand to flip the top card over as you say, "This is the top card, the...[name it]." Continue by adding, "The reason that I am showing you the top and bottom cards is so that you can be sure that we are really cutting the deck into four packets. Don't worry, it will become clear as we proceed." Offer an explanation. "Here, let me show you..." With the right hand, cut all the cards above the break to the table. The Aces are on the bottom of this packet. Place the balance of the deck about 6" to the left of the tabled packet. Now, allow the right hand to cut off about half of each of the two packets, placing each cut off portion immediately to the right of the packet it was cut from. You have four packets in a row on the table. If you count from left to right, 95

the Aces will be on the bottom of the third packet. Patter..."As you can see, it looks as if the deck has been cut fairly into four packets. However, such is not the case. See, this is the bottom of the deck [flash original bottom card on the base of packet #1, the left-most packet and then return the packet to its tabled position]. And...this is the top card of the deck [flash the top card of packet #4 and then replace the card.] Watch closely, and I'll show you how to really cut the deck fairly into four packets." For clarification, the packets are left to right— 1

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Assemble the deck by placing packet #1 atop packet #2. Then place packet #4 atop packet #3. Then place combined packet #1/#2 atop combined packet #4/#3. The Aces will be on the deck's bottom. With the deck tabled, have the spectator cut off a portion and have him place it at position #4. Have him cut off another section and place it at position #3. He cuts off one more portion and places it at position #2. The balance of the deck, with the Aces on the bottom remains at position #1. Point to packet #4 and comment, "Remember, this packet hasn't really been cut... would you cut it for me and complete the cut." This is a bold ploy that plays wonderfully. After he has completed the cut, say, "Let's see how successful you've been." As you speak these words, pick up packet #1 into the left hand and secure a pinky break above the four Aces on the bottom. Use either a Pull Down Technique or a hand to hand spread. With the break above the Aces secured and the packet squared, pretend to peel off the top card. In reality, grip the packet from above in Biddle Grip with the right hand, DIAGRAM 1, and pretend to peel the top card off 96

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into the left hand. Actually hold the right hand still and allow the left hand to move to the left with the block of four Aces held in deep Mechanic's Grip. DIAGRAM 2. Ensure that the left thumb remains in contact with the top of the packet proper during the action. This enhances the illusion of peeling off the top card. Table the packet and pick up packet #2. Really drag the top card of packet #2 onto the top of the first card [really the block of Aces] and secure a left hand pinky break between this second card and the block. Retable the balance of the second packet. Repeat with packet #3. You will now have a break between the four Ace block and the two cards above it. It has appeared that you have merely peeled three cards, one atop the other, into the left hand. Pick up the fourth packet in right hand Biddle position. The left thumb simulates peeling off the top card only. In reality, nothing is taken. However, you do steal the two cards from above the pinky break onto the bottom of the right hand packet. Standard Biddle Type Steal. (Simply pick them up beneath the packet as it passes over the left hand cards during the pseudo peel.) This will leave you with just the four Aces in the left hand. Table the fourth packet and then display the Aces. Play this at a fair pace. There is no need to hurry, however the final peeling stages must be performed smoothly and without hesitation.

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DR. BILL NAGLER

Dr. BILL NAGLER Utimate Aces This is a truly novel approach to the Ace Cutting plot. What the effect looks like: You freely shuffle the deck placing it to the table. A SPECTATOR CUTS TO AN ACE. This happens three more times. Then you shuffle the aces back in and reproduce them with four fast cuts. The aces are now mixed into the deck for the final time. Three different spectators each cut to an ace. The last ace rises from the deck! The handling: Use a Devano deck with a gimmicked block about twelve cards thick. Prepare by putting about fifteen cards above the block, the aces below the block and the rest of the deck below the aces. If the deck is now cut at about centre, the block will go 'with' the cut and an ace will be cut to. False shuffle and cut. Table the deck and have a spectator cut at about centre. He'll cut to an ace. Repeat three more times. Re-shuffle the aces back into the deck and then re-cut all four yourself using a quick series of cuts. Follow up with your favorite Ace Assembly (Bill says he likes LSD ACES or Martin Nash's $10,000 ACE ROUTINE depending on his mood). Finally, again 'lose' the aces into the deck and have three different spectators cut to an ace. Prop the deck up against a glass tumbler and allow ace #4 to rise from the deck.

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JON RACHERBAUMER

JON RACHERBAUMER Shaded Cards To Pockets These variations were inspired by a couple of methods by Peter Duffie that were published in Close-Up To The Point (Oct-1984), namely Double Fantasy and The Extractors. The Duffie methods were inspired by Carlyle's Homing Card and Vernon's Travellers, whereas my combinational effort takes Duffie's two-selectionsto-two-different-pockets approach and combines it with elements of Marlo's Repeat Card To Pocket from The Cardician. The Work: As in Duffie's method, before starting, secretly place an X card in your right side coat pocket. Know how it is placed as regards its face and back. Have two cards freely selected and ask the spectators to sign the faces of their respective card. Have them returned and control them to the bottom. Shuffle and retain the selections. Do an All Round Square and glimpse the bottom card. Assume it to be the Ace of Hearts. Remember it. Explain that sometimes one of the selections, by chance, ends up on top. Cleanly show the top card and replace it. Then fake a steal or Top Palm as your right hand moves away, palm away from the audience. Say, "Would it be peculiar if one of the selections fly from the deck to my right pocket?" Keeping your right hand in a 'Palm Position' gesture to your right side coat pocket. The audience will follow your right hand's indicatory gesture. Besides, they are suspicious that you may be 'doing something'. (Do not exaggerate the fake steal.) Allay any suspicion by making another gesture with your right hand, this time showing its palm. Say nothing about your empty hand. Look directly at the 103

audience as you address them. While this 'bit-o-fun' is going down, prepare to Bottom Cop the bottom two selections. Use a Buckle Break or Pull Down to obtain a left 4th fingertip break above them. Move your right hand back to grasp the deck from above and by the ends. Say, "Also, sometimes a selection ends up on the bottom..." Lift the deck from the left hand and turn your right hand palm up to reveal the bottom(?) card as your left 'cops' the selections and casually drops to your left side. The audience will look at the face of the deck. The heat is off the palmed selections, and at this stage you will continue to compel the audience's attention away from your left hand. Turn your right hand palm down and table the deck. Then quickly point to the audience and sweep your right hand to the right, palm outward, as you add, "...but, believe it or not, one of the selections has flown to my right pocket ...right here ...right now!" Make certain that the audience sees your empty right hand as it moves into your right side coat pocket. As soon as it withdraws the X card back outward and then raises it so you may see its face, place your left hand into your left side coat pocket. Say, "Yes ...l see your signature here on the Ace of Hearts ...How remarkable!" Miscall the X card, naming the selection you glimpsed at the outset. Toss the X card facedown to the table. Quickly continue your patter spiel: "And in this pocket I see that the other selection has flown..." Withdraw the uppermost selection of the pair and leave the actual Ace of Hearts in the pocket. Remove it with its back toward the audience, lift it so that you can see the face and then truly name it. (Assume it is the Ten of Clubs.)

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Do not show the second card's face as yet. Instead, transfer it to your right hand, which in turn uses it to scoop up the tabled X card. Then hold both cards as a squared unit in right hand Biddle Grip. Say, "I find it supremely weird that your two signed selections flew into different pockets, The Ace of Hearts here, the Ten of Clubs here..." As you re-name the selections again (verbal reenforcement), flash the bottom 10C as you make indicatory gestures. The trick is apparently over. Say, "You know, that whole incredible sequence happened so fast that nobody really had a chance to 'see' the selections fly out of the deck and into my pockets. Some say that it's impossible to see them fly because they move invisibly. I say 'nonesense!' The selections do not become invisible; they simply move in a twinkling, an eye-blink, a split second ...the instant everyone's eyes blinked—amazingly in unison—the selections flew out and in. This time ...watch closely." Separate the two assumed selections, holding one in each hand. They are held facedown. The X card is in your left hand, which drops it facedown onto the table. Your right hand retains the 10C. Pick up the deck with your left hand and hold it face-down in Dealing Position. Say, "Each selection will be cut back into the deck." Crimp the deck's bottom card. Show the face of the 10C and cleanly drop it face-down on top of the deck. Drop the deck face-down on the table and give the cards a single, straight cut. Pick up the X card and place it on top and repeat the straight cut to bury it, only this time cut at the crimp. This moves the 10C to the top. Ribbon Spread the deck face-down from left to right, saying "Both selections are once again lost in the deck..." At this point you must steal and Palm the top 10C. There are many ways to do this; however, the cleanliness of your handling at this stage is critical. Keep in mind that you have not overhandled the deck too much at 105

this stage. You could execute an efficient Top Palm and eliminate the Ribbon Spread as you table the deck. I prefer to use either method by Marlo to palm off the top card during or after the Ribbon Spread. (See Ribbon Spread Palm from Tabled Palm— 1957.) You will have to modify this slightly as you are standing. Once you have the 10C securely palmed, reach into your inside, left breast coat pocket to obtain your favorite gaffed wallet (such as The Le Paul). In the process, load the 10C inside, and then remove the wallet tossing it to the table. Patter: "I feel so confident that this experiment is going to be a success that I'm willing to bet thousands of dollars..." Pause for a few beats as you look over the group letting your outrageous claim sink in... Then add, "Does anyone here have a thousand dollars they can lend me? No? Well then, I'll bet everything in my expensive, hand tooled, imported wallet ...there, on the table." The rest is presentation. The AH is already in your left side coat pocket and the 10C is in the tabled wallet. Look at the spectator who selected the AH and ask him or her to name their card (as though you have an impaired memory). Then cleanly withdraw it and toss it face-up on the table. Look at the other spectator and have him name his card, the 10C. Reach into your right pocket and look surprised to find it empty. Check your other pocket. Look under the close-up pad. MILK IT. Finally disclose the 10C in its "enclosed loci".

SECOND APPROACH This follows the same handling up until the first revelations. Having dropped the X card on the table, remove both cards, held as one from your left side pocket. Transfer this 'double' from your left hand to your right and use it to scoop the X card from the table. Turn over all three cards as a squared unit and then push over the AH 106

to expose the 10C on the face of the 'double'. Hold the double in your left hand, the single in the right. Finally drop both face down onto the deck. Notes: These approaches are cautiously recorded. They grew out of trying to salvage Duffie's original subtlety wherein one of the selections gets into a pocket in a cunning manner; however, the gag notion required to make it work seemed feeble. Because you appear to subconsciously divide the audience's attention by using two selections and two landing sites, you have some built in misdirection. In the first approach the actual loading of both selections takes place 'after' some magic has occurred and the audience tends to 'relax' immediately afterwards. During this 'mental rest' your left hand, already unobtrusively hiding in 'the shade', dips into your other pocket. You will also notice that during the times of intense 'heat' you are clean. So, the basic structure of the routine is sound. My strongest apprehensiveness about this routine lies in the dilution of the central clarity of a Cards to Pocket routine: That cards travel one at a time to a pocket or two and the overall action is linear and there is no simultaneity. What may seem to be subtle could turn out to be mild confusion. At this stage of note-taking, my strongest argument to support the less-than-direct handling is that my hands can be shown empty prior to revealing a card in a given pocket. At least this is the impression made on lay audiences.

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JAY SANKEY & RICHARD SANDERS

JAY SANKEY Back-Spin Special The following completely impromptu item is pretty odd, and although it definitely requires developing a certain knack, the basic principle (once understood) is both startling and easy. (Note from Ben: believe me, this can be done. I have watched Jay perform this many times!) Effect: This routine has two different presentations, one for laymen and one for other magicians. For laymen it appears as if you have a card selected and returned back into the approximate center of the pack. The pack is tabled about two feet from the edge of the table and an American Fifty Cent Piece is then introduced. After being examined, the coin is stood up on its edge and held upright by the downward pressure of the left forefinger, the coin resting about two or three inches from the table edge. The magician mentions that though he cannot find the selected card, the coin can. In fact, he goes on, it can actually run to the deck, cut to the selected card, and then run back into the awaiting hand of the performer. The mob, being sane, is also skeptical. Nonetheless, a moment later the coin ' leaps ' and rolls forward to the pack, knocks a small packet of cards forward and off the top of the pack, and then runs back to the edge of the table and into the magician's awaiting hand. The cut to card is now turned over and it is the selection! For an audience of magicians I present it as a demonstration in the ultimate principle of lapping, namely an object lapping itself. In keeping with this presentation, I again have a card selected, returned to the pack, and the pack is tabled. Then I offer to show them how the coin will not only find the card, but that it 110

will also try to make itself magically vanish by lapping itself (the coin having recently browsed through a Slydini book). Then, when the coin spins back from the pack having knocked off a packet of cards, I let it roll directly into my lap instead of catching it in my hand at the table edge.

Method: This is very, very simple, but not only will it not work on a c!oseup pad, but it will not even work too well on a table cloth. This is one trick which works best on a hard surface such as a bar or dinner table. To practice, take a coin and hold its edge down onto the table, perpendicular to the table edge. Pinch it between your right thumb and middle finger. Diagram 1. Now come down from above with your left index finger and lightly press down on the coin from above. Momentarily remove your right fingers,leaving the coin standing up on edge being supported just by the left fingertip. Now rest the fleshy tip of your right index finger directly along the upper edge of the coin, just back of the left index fingertip. Diagram 2. If you press straight down on the coin, very hard, with your right fingertip and then let it squirt out from beneath your left finger, the coin should at least travel six inches forward and then fall over. You will notice that though the coin squirts forward due to the pressure it is under, it is actuallv back-spinning while it moves forward. With practice you should be able to get the coin to squirt two or even three feet. The key is to keep the tip of the right finger perfectly aligned or straight with the edge of the coin. You must also apply pressure straight down and not sideways. To have the coin roll straight back towards you all that is necessary is for it to hit the flat side of 111

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an object in its path, such as a pack of cards. Thus, if you put a pack about a couple of inches from the coin (increasing your distance as you get better) and then squirt the coin directly towards it as explained above, it will fly forwards, hit the pack, and then roll quickly back to you. Diagram 3. This will take practice, so don't give up. To perform: Have a card selected and looked at. Use a sort of “Bluff Pass” for its return: Lift off 510 cards with your right hand, and extend your LEFT hand to the spectator for the return of his card atop this group. While the selection is being returned to the top of the left hand packet, the right hand briefly buckles its packet (concave) and then smartly tosses it back onto the left hand cards, apparently losing the replaced selection somewhere in the pack. (Casually executed, it will be assumed the card has been returned to the middle of the deck). Place the pack on the table about twelve inches from the edge and introduce the coin. Explain what you will do and pause as if you are surprised that the audience is skeptical. Then, hold the coin just forward of the table edge and execute the 'squirt' as described. The coin will shoot out, hit the deck, knock off the cards above the selection and then return to your hand or lap, which ever is appropriate. Don't rush. Let the startling visuals sink in before turning over and revealing the selection. Notes: You can, with practice shoot the coin about two feet and perform the effect. A U.S. Fifty Cent piece is good due to its weight and the traction that its milled edge gives. However, other coins will work beautifully.

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JAY SANKEY & BEN HARRIS De-Crease It was in Nashville at the I.B.M. convention that Jay and I developed this. We were looking for a visual and strong Torn & Restored Card. We also wanted it to finish with the card being totally free of any crease, tear or markings. As Jay postulated, “if you're magical enough to restore the card, then there should be no creases or evidence left”. De-Crease allows you to tear a signed card into two pieces, show them fairly as such, and then have them virtually jump back together in a fully visual restoration. It is the signed card and there are no creases! Preparation: You require an extra half card. To obtain this, simply tear a card (with a back design that will match the performance card) in half. Tear it across its width and do be sure to leave a ragged edge. Place this torn half in your left trouser pocket. To Perform: Have a card selected from the deck and signed across it's face. As you return the pen to your pocket, cop the half card in your left hand. Be sure that it is face-down and that the ragged edge is outermost. Diagram 1. The 'copped' card rests on the fingers and the hand is turned inwards slightly to conceal its presence. You may allow the right hand to rest the deck over this gaff to assist in supplying cover. Take the signed card, turn it face-down and place it into the left hand so that it is directly over the half card. Align the half card so that it is perfectly square beneath 114

the left end of the complete card. Diagram 2. You should perform this load-on action while turning your body slightly to the right and addressing a spectator. After the load-on you may once again turn to face the audience squarely. Holding the card between both hands (as illustrated in Diagram 2) flex it back and forth as if preparing it for being torn in half. Freely display these actions (being careful not to actually crease the card) as you slowly turn to your left. Note carefully how the card is gripped in this diagram. The thumb-tips should be touching.

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You will now pretend to tear the card in two with a quick, almost careless action. To give this illusion simply hold the left hand perfectly still and move the right hand sharply down twisting it in an anti-clockwise direction. The right hand moves with 115

the complete card leaving the half card in the left fingers where it has remained static. An incredibly realistic tearing sound is created as the full card snaps off the half card during the pseudo-tearing action. Diagram 3 shows the tearing action from your view, looking down. Diagram 4 shows the action from the audience's viewpoint. Because you've turned to the left, the complete card in your right hand is obscured from view and the perfect visual and aural illusion of tearing the card into two has been executed. Practice this fake tear until you get the 'feel' that will ensure the correct sight and sound.

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After pausing for just a beat, reverse the right hand's action, twisting it clockwise so that the full card is returned to its starting position but under the half card. Diagram 5. You are still turned to the left and it simply appears as if you are bringing the two pieces together into the left hand. You will now turn squarely to face the audience, to display two separate pieces. You do this by combining three actions. Firstly, you raise the hands up towards your face as you turn, and you fold the full card in half (without creasing) during the actions. Here’s how. As you turn and raise your hands, the left hand moves its thumb beneath its 'two card' end and bends it downwards. Diagram 6. You will arrive at the position shown in Diagram 7. The left thumb has moved out from between the folds and pinches the assembly closed at the bottom left corner. Again, be careful not to crease the card. You must now reposition your right fingers for the display and restoration phases. The folded card is open on the right side. Quickly re-grip by removing your right fingers from within the curled card and then replacing them with your right thumb. Grip the front of the packet with your right second finger. Diagram 8. So, the right hand is holding the packet (or pinching it) between the thumb and second finger. The left hand grip remains as in Diagram 7. Diagram 9 shows the audience view. It really does look like you're holding two half pieces of card. The right second finger may slide the front half piece up and down a little to help sell the visuals. Diagram 9. To visually restore the card, you will use a variation of Ed Marlo's “Snap Change” (Marlo's Magazine, Vol 2, 1977) in a bizarre fashion. It will be used to instantly steal the half card from view to create the illusion of a restoration. 117

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Still facing the audience and holding the cards in front of you, about chest level, release the left hand's hold. This will cause the bent card to begin straightening out. Your left hand fingers curl in preparation to flick the left edges of the cards. You must tilt your right hand back a little to ensure that the now free full card does not bow up and into view. Diagram 10 is your view, while Diagram 11 is the audience view. To the audience, you still just hold two half cards. Keep the right hand tilted back as the signed card will have a 90° bend by this stage. You do not want it to flash at the top. The left fingers must remain close to the left sides of the cards to provide cover and angle resistance. The right fingers will execute the basic handling of the “Snap Change”. Just as the left forefinger is about to 'snap' the edges of the cards, the 'Change' is executed. It's almost as if you are snapping your right fingers. The right second finger presses against the face of the half card and quickly curls into the palm. Diagrams 12, 13, & 14 show the action. The right forefinger moves in to replace the second finger's grip on the front of the full card so that it is not dropped. Study the diagrams carefully. Really, just imagine you are snapping the second finger off the thumb to create a 'snap' and you'll find that the half piece will instantly move from the front of the full card and into your right palm. Again, Diagrams 12, 13, & 14. As you execute the move, the right hand also tips upwards slightly allowing the full card to arch completely into view. The action is instant and the card appears to visually restore as the left fingers flick the left edge. Diagram 15, is the audience view of the restoration. The half piece is concealed in the right hand. The mechanics are a little different to the original 'Snap Change' in as much as it does not retain the true pivotal action of the original. Basically though, it's the same concept used to create a different effect. 119

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You should be turned slightly to your left to ensure the best angles for the restoration.

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To finish, grasp the upper left corner of the restored card between the left fingers and thumb. Diagram 16. Bend the card forward, rolling it towards the audience as in Diagram 17. This final display reveals the restored card as the original, signed selection and also reverses the bend, flattening the card. NOTES: If your half card is a duplicate of the full card then you could flash the face during the tearing sequence. The handling also works with bills and business cards for those people who want a more impromptu item.

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JAY SANKEY Geller Card It was early morning, the day after my Toronto lecture. Jay and I were breaking down elements of the previous night’s activities. Focus was on the metal bending material. Jay impishly mocked the discussion with this clever piece. Effect: Discussing spoon and metal bending, the performer tables a single playing card and then walks away. He then turns, dramatically points at the card, and it immediately BENDS—right there on the table—totally hands free. Method: This is one of those “little things” that may not read well, but does play wonderfully under the right circumstances. To prepare, SECRETLY bend a good quality playing card across it’s width, Diagram 1. Now, open the card and bend it “gently” lengthwise (partially cancelling the widthwise bend), Diagram 2. The effect is best performed seated, allowing you to execute this secret prep below the table top. If you’ve prepared correctly, you’ll be able to table the card and it will remain flat for a little while (maybe up to half a minute). Eventually, the memory of the stronger width-wise bend will overpower the length-wise bend and the card will visibly arc. You simply time ths so that you are pointing at the card when this happens, Diagrams 3 and 4. 122

Humidity and the quality of the playing card used will both affect the performance of this effect. Ths is one of those things that you need to play with a little so as to become intimately familiar with the forces involved. When it all comes together, it’s quite astounding and magical.

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JAY SANKEY/RICHARD SANDERS One For Fifty-One! This is something that Jay performed for me in my hotel room in Toronto. It blew me away and I had to pry it loose for New Directions. Effect: A signed selection face-down on the table, is 'spread' across the table transforming into the other fifty-one cards which have previously been placed into the card case and secured with a rubber band. The spectator may open the card case himself to discover his solitary signed selection within! Preparation: Take the deck and remove two cards. Place a rubber band lengthwise around the remaining fifty cards. Place the other two cards on top of all and re-case the deck. You'll also need to have a marking pen handy. To get 'into' the routine, it's best to secretly switch in the prepared deck/case. This is easily done. Simply return another deck with a matching back design to your pocket and then, as if on a second thought, bring the prepared unit out to demonstrate one more effect. Another way, if you're feeling bold and working seated, is to simply have a rubber band in your lap and set-up below the table-top while your audience is enjoying the climax of your previous effect.

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To perform: Remove the deck from the case by allowing it to slide out. Your extended left forefinger covers the exposed band on the front end of the deck. You now have several 'ways to go'. Probably, the best avenue is to force the second card from the top via the “Bluff Force” technique. In other words, run your left thumb down the outer left corner of the deck and then ask a spectator to call "Stop." When she does so, move the right hand above the deck and pretend to lift off all the cards up to the resulting left thumb break. In actuality though, you simply release the thumb break and the right hand only lifts the top card, Diagram 1. By tilting the deck downwards, the extra thickness is not noticed. The left thumb now thumbs off the top card of its section (supposedly the stopped at card) and performs a wrist-turn to 'kill' the exposed rubber band that runs along the top of the left hand portion. Diagrams 2 & 3). 1

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The right hand now returns its single card to the top of the deck as the left hand reverses its 'wrist turn' action. Now, with the free right hand, flip the tabled 'selection' face-up. Have the card signed and allow the ink to dry. You will now apparently return the signed card to the center of the table after you blow on the ink to be sure that it’s dry. In reality, you blow on the card and execute a Top Change to secretly exchange the just signed card for the single card atop the deck. So, in fact, the card that you table face-down is the unsigned 'loose' card. Another way, if you don't do a Top Change, is to pick up the signed card, blow on the ink and then apparently place the card in the center of the deck. Actually, you use the Tilt ploy to deposit the signed card second from the top. Now, do a Double Lift, (turning your body slightly to the right to 'shade' the banded deck) and show that the signed card has risen to the top. Flip the Double back face-down and then table the top card only. This will leave the signed card atop the deck. Claim that you will now demonstrate something even more amazing. With the apparent selection face-down on the table, you will now place the deck into the case and close the flap. Do all of this fairly but when closing the flap, simply tuck it in ABOVE the deck. (Diagram 4). Keep the open end of the deck towards yourself as you do this.

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You will now apparently remove a rubber band from your pocket and use it to encircle the encased fifty one cards. However, this is sheer bluff. Proceed as follows reach into your pocket with your right hand and pretend to remove a band. Hold the deck in the left hand in Biddle Grip with the thumb at the open end. The right hand comes up (apparently holding the rubber band) and meets the left thumb. (Diagram 5). Now simply allow the right fingers to 'nip' the band around the deck, pulling it back toward yourself, and then revolving the hand outward toward the audience, encircling the case. (Diagrams 6 & 7). To all intents and puposes, you've merely removed a rubber band from your pocket and then snapped it around the encased deck. Note that the left thumb prevents the deck from flying out of the case during the above actions. Now, roll the deck over sideways and again re-grip in the Biddle Position with the left thumb holding the deck within the case. Pick up the tabled card and hold it facedown on your right palm. Lean towards someone on your right, make a comment, and then as you move back to the center execute the following “Han Ping Chien” related action— Slap the single card face-up onto the table, but just before the revolving right hand 'hits' the tabletop, release the thumb pressure on the encased deck and allow the deck to shoot out of the case so that it lands roughly where the descending right hand will land a split-second later. (Diagram 8). Immediately, spread the deck into a Ribbon Spread with the right hand. (Diagram 9). After pausing a few beats, return your attention to the card case. Act as if you are about to open the case, but simply insert your right thumb and straighten the flap by pulling it gently upwards. Pretend to change your mind and then hand the case to a 128

spectator allowing him to remove the band and discover his card within. This routine really is a visual killer. Play with it until you obtain the correct and smooth choreography that is 'you' to make this work. New decks can be a little funny with this routine; they can tend to jam. Also, it sometimes helps if you remove three or four cards from the deck before you set up. This will ensure a smooth exit from the case during the final revelation.

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ESSAYS

FINN JON Magic/Photography/Chess Everybody can go out and buy a camera, press the button and get a picture. Everybody can learn the rules for playing chess, and everybody can go out and buy a Brainwave Pack, fool their friends and think he is a magician. On the everyday level, press-button 'Photo' magic is easy. However, to lift the level above the everyday puzzle, hobby or part-time occupation, takes a lot of hard work, patience and devotion. As people truly interested in our field as an art, we must look at magic with the same respect as one climbing Mount Everest. Our steps should be carefully planned and our feet should be on solid ground before we take our next step. Only with this deep respect of the 'Mountain' before us, will we be able to follow in the foot-steps of the great magicians who have climbed the very same 'Mountain' before us. And, as the 'Mountain Climber' needs certain tools to climb the "Mountainside', like ropes, bolts, shoes, etc... we will need our special tools and strategies. Climbing 'Mountains' can be dangerous; you can fall down! Pursuing Magic can also be dangerous; you can lose your balance, grip on reality, and actually 'fall up!' You can start to feel as if you are 'great'. But don't forget, it is MAGIC that is great. Some magicians only look great because they are standing on the shoulders of former magical 'climbers'. To do this, is a dangerous slip. 131

JAY SANKEY A Look At The Willing Suspension of Disbelief I recently sent a copy of J. R .R. TOLKIEN'S 'Tree and Leaf’ essay to a fellow magician and although he admitted that he had yet to get around to reading the essay, he nonetheless suggested that the literal meaning of 'willing suspension of disbelief' amounted to the same thing as 'belief'. Thus, he argued, if the performer achieves the former, has he not also achieved the latter? I think that this approach to the notion of suspending disbelief is incorrect and is based upon a fundamental misconception concerning the nature of belief itself. In his essay, Tolkien distinguishes between two kinds of responses an enthusiastic individual has when exposed to fantasy. For the story or fantastic situation to be intelligible to the individual, he must either willingly, and thus knowingly, make an effort to suspend his disbelief and incredulity or he must take this fantastic situation as being real. Real in the sense that the presented situation or world, though unbelievable and fantastic in comparison to our day-to-day world and its laws of nature, is in itself just as real to the spectator while he is experiencing it as the world that he usually experiences. For Tolkien, great fantasy does not ASK one to believe, it compels or forces one to. One cannot CHOOSE to believe in something, but believes depending upon one's own, and yet uncontrollable, criteria for belief. 132

Take for example, the reading of a great book. One curls up on the couch with a cup of coffee, opens the book, and is whisked away to some far off place, if not physically, at least mentally. And yet, if the book is a good one, the reader is even kidnapped physically because at certain very exciting points in the story his palms sweat, or at sad parts, he even weeps. Some people can become so engrossed, they may not hear a phone ringing in an adjacent room. Now, Tolkien argues, and I am tempted to agree with him, that a willing suspension of disbelief not only DOES NOT produce this affect, but COULD not, because, by its very nature, it requires a transcendence of the described fantastic world, requiring the reader to continually and consciously suspend his disbelief. That is certainly not the same thing as belief. For Tolkien, great fantasy is frequently accompanied by a 'lifting of the heart' and thus it sparks desire in the reader/participant when he 'comes out' of the story to find himself back in the situation or Primary World (to use Tolkien's phrase) that may not meet up to the joys of the Secondary World he has just experienced. This initial real joy and subsequent desire or sadness I do not think is attainable by means of a willing suspension of disbelief, but only by complete belief, even if only for a moment. This then is what I think all art, especially ours, should be attempting to achieve as one of its primary goals. Namely, the spectator's momentary belief in the stories we weave, not their willing suspension of disbelief. To cause our spectators to believe in our stories we must weave them in such a way that not only do they hold interest and conform to the audience's particular criteria for belief, but that they are also intelligible and demand of the spectator an 133

emotional investment in the stories' outcomes or climaxes. Idealy, I feel, we must literally charm or cast a spell over our audiences , though only for the duration of the performance, because if one LEFT a performance believing that a woman can be suspended in the air without any physical aid whatsoever, it would be a matter of brainwashing or mind-control rather than art. Therefore, I think we must lie, and yet we must be honest about our lies. However, the honesty is only evident before and after our performances, NEVER during, for that would bring the audience out of the Secondary World and back into the Primary. Yes, this may seem to be a very difficult, if not impossible, objective to obtain. It is like being on a tightrope, continually swaying between honesty for the sake of morality, and dishonesty for the sake of the success of the illusion, though ultimately both are for the sake of great art which must not be just seen, but actually experienced.

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JAY SANKEY The Value of Material Fiction Have you ever wondered why it is that you enjoy bringing about seemingly magical events? Or why an audience might like watching and experiencing Material Fiction? Simply put, what exactly does the performer and the audience "get out of" the situation? Do we perform simply because we "like to make people happy" and we're simply nice people? Or do those of us who create and perform do so because of some less rational, more self-based pleasure, derived from the act of apparently defying the day-to-day laws of our world? Our dramatic craft or art is similar to photography, painting, and a great deal of literature at least in one respect ...they all involve fictitious subject matter. Not only do writers, photographers, and painters represent actual objects differently than they are perceived, but they also frequently depict in their works ideas or images from their imagination. Writers of fantasy in particular, often present their readers with a series of seemingly impossible events. As performers of Material Fiction, this is exactly what we do, though ours is a dynamic and dramatic presentation as opposed to a static and literary one. For many people, the wall between the "possible" and the apparently "impossible" is very rigid and concrete, strengthened by both a lack of imagination and a vast and socially encouraged collection of prejudices. But Material Fiction, at its best, questions the solidity of this wall, though only for the duration of a performance, momentarily poking little holes in it and allowing convictions from both sides to leak through to the other.

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I believe that the essential value of Material Fiction, for both the Material Fictionist (unlike the mere "magician") and his audience, is founded upon this temporary suggesting of "what if?" The fundamental value of this "what if?" can be analyzed from two different though overlapping perspectives—the emotional, and the intellectual. In his "Tree and Leaf" essay, J.R.R. Tolkien rejects the overall value of the "magician" outright. Now, I won't say I disagree with him, but I feel that the qualities of a performance of Material Fiction, as opposed to so-called "magic", have the potential to attain levels of emotional and intellectual stimulation equal to that of what Tolkien refers to as "Fantasy". For Tolkien, Fantasy has three predominantly emotional prime virtues or benefits. The first virtue Tolkien names "Recovery". This is basically the participant's regaining of a clear and unprejudiced view of raw possibilities by the wiping away of the "drab blur of familiarity". In reference to this virtue, Tolkien also mentions the benefit of "mooreeffoc" ("coffeeroom" backwards) or the inversion of familiar places and things enabling one to see them in fresh and unusual ways. However, Tolkien also points out that creative fantasy not only tries to show common things in an unusual light, but to also create something new in the mind of the participant. The second of Fantasy's virtues is Escape. Of the three virtues, Tolkien spends the most ink upon this virtue due to the common derogatory connotations associated with the notion of "escape". In an attempt to resolve the usual confusion, Tolkien distinguishes between the "Escape of the Prisoner" and the "Flight of the Deserter", the latter being the one usually associated with the idea of "Fantasy" for the sake of escape. However, unlike the Flight of the Deserter which is weak, guilt-ridden, and cowardly flight from reality, or—to use Tolkien's phrase—the Primary World. The Escape of the Prisoner is a romantic transcendence into the fantastic Secondary 136

World. The first is an escape driven by fear and weakness, the second by desire. To quote Tolkien, "Why should a man be scorned if, finding himself in prison, he tries to get out and go home?" Fantasy's third and final virtue, Consolation, is the virtue that is the least applicable to the performance of Material Fiction, involving more than just the imaginative satisfaction of desires. The Consolation of Fantasy is a direct result of the joy of a story's "happy ending", one which denies the fatalistic notion of universal defeat. Great Fantasy, like great Material Fiction, is a rare and wonderful thing, not easily nor often achieved, but I honestly think that great Material Fiction is capable of embodying all three of the virtues just outlined, especially those of Recovery and Escape. However, for a performance to emotionally involve the participants to such an extent requires a temporary kidnapping of their emotions in order to lull them into one's created, and thus stylized, Secondary World. But enough of the possible emotional benefits of Material Fiction. What of the intellectual ones? Bertrand Russell suggests that one of the key benefits of the discipline of philosophy is that by thinking and being confronted with possibilities rather than apparent certainties, one's speculative interest in the universe is kept alive. In other words, Russell values philosophy due to the effect it has, namely an impression of uncertainty, upon those who study it. Material Fiction, I would suggest, has a similar potential potency, however, it impresses thoughts of uncertainty upon the spectators who witness it rather than upon those who study it—because for us, those who perform, all is certain concerning our art. Convincingly "told" stories in the form of Material Fiction, like the study of philosophy, suggest many unusual possibilities which enlarge the spectator’s intellect, briefly freeing it from the "tyranny of custom" (to use Russell's phrase). 137

Though many elements of both Tolkien's view concerning the emotional virtues of Fantasy and Russell's view on the intellectual virtue of philosophy are essentially embodied in a great performance of Material Fiction, certain aspects of the two views differ, with their basic difference being that Tolkien seems to emphasize the aesthetic and emotional, and Russell the intellectual. Material Fiction however, is capable of being a unique hybrid of the two views, emphasizing attitudes towards human experience in general instead of emotional or intellectual aspects in particular. Unconventional, though emotionally involving thoughts, perceptions, and observations are the blood and guts of a performance of Material Fiction, their very "other worldliness" being the prime benefit and value for both performers and participants.

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CRAIGE McCOMB SNADER, JR. Miracle Workers Unite A book appeared in 1984 that will be ignored by most magicians, including those who perform Close Quarter material. The reason? There is not one single trick in the book. Yet, this booklet (only 21 letter sized pages) is, I feel, the most important magic related publication since Eric Lewis wrote Magical Mentality: Creative Thought For Magicians, back in 1934. (If you are lucky enough to own a copy of this book, you'll know what I mean. I have written and talked with Eric about 'filling in the gaps' and writing a new edition of this 1934 masterpiece. So far, no definite response). In the past half a dozen years I have been the Devil's Advocate for a number of young performers. One - Brandon Scott - is now working in Las Vegas. As a result I have been doing a lot of thinking and reading on 'theatrical presentations'. Notice I did not say 'magical' presentations. After all, magic is theater! Even Close Quarter work is theater. (Maybe I'd better give you the reason for my using the term 'Close Quarter' rather than 'Closeup.' For a number of years I have 'taperesponded' with STANTON CARLISLE in England. He originated the term ' Close Quarter', and frankly, it feels better for me. I like the term as Close-up seems to imply 'highly magnified' or 'detailed examination'. The name of the game though is ENTERTAINMENT.) But, going back to being the Devil's Advocate, it matters not where magic is performed. On stage, in a night club, a trade show, a restaurant, or in the street, the same basic THEATRICAL ELEMENTS come into play.

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Each and every magical performer must understand two basic factors if they are to secure return bookings. Both of these elements must be established within the first sixty seconds of the performers show. In fact, these same elements must also be applied by your local witch doctor, college professor, religious minister and politician! For the magician, these two principles are most vital. Yet, why is it that most lovers of our art simply seek out the new 'tricks'? The two factors that we're concerning ourselves with are: THE SUSPENSION OF DISBELIEF and THE CREATION OF A SENSE OF WONDER. Much of the former can be achieved before the performer even appears before his audience. The non-magic-loving-spectator who goes to see Siegfried & Roy has usually been affected by the name of their show—'Beyond Belief'. The unusual appearance of Max Maven conveys to the audience that they are about to witness something 'unreal'. To most Americans, the names Blackstone, Henning, Copperfield etc prompt the setting aside of belief. The appearance of Eugene Burger makes one sit up and take notice. By pure physical appearance and presence these artists suspend disbelief. The second element, The Creation of a Sense of Wonder is much harder to pin-point and explain. All of the performers mentioned above, do create this Sense of Wonder in the minds of their spectators. This thing called 'Wonder' is important as regards the impact that a performer, be he magician or actor, creates in the mind of his audience. In 1984 a young magic collector named Todd Karr launched his Wonder Publications with Words On Wonder by S.H. SHARPE. The monograph has a brief 140

introduction by Doug Henning. This is followed by six chapters—The Evocation of Wonder, Wonder and Illusion, Magic in The Atomic Age, Wonder Working, The Science of Illusion and Words on Wonder. This is not a publication to read and then leave on your bookshelf. Rather, it is a string of delicate thought that you must ruminate over. (For those who do not know the New Englander's concept of 'rumination', it is MORE than just reading. It is a form of thinking that actively involves. You read a few words and then mull the ideas around in your brain. It requires hard work initially, but soon comes as a natural thing.) In a moment I'll give you a quotation from the final section of Words On Wonder. Try to ruminate. Roll the words around in your head and examine them. Once you're done, do it again. Then again, until it becomes part of you. Before giving you the quotation, I'd like to share with you the best way I've found to get the most from Words On Wonder and other such works. Keep the book by your bed. Just before going to sleep, pick it up and read a small portion and ruminate. Only by participating in the written word through rumination can you make 'Wonder' a part of your act. It will not be easy, in fact it's harder than learning a new sleight. However, it will pay you back a thousand fold. Now for the quote. Are you ready to ruminate? If not, put this aside until you are. "He who fails to find the wonderful in the small, will in vain seek it in what he considers to be great." That quote was from Words On Wonder by S.H. SHARPE. Think about it! And to finish this diatribe: 141

“A conjuror is nothing if he only amuses and fails to inspire wonder.” That's Thomas Frost from The Lives Of The Conjurors.

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Coming Soon... HOME FIRES By Ben Harris The complete collection of Ben’s contributions to New Directions Magazine (1985-87) Including: SuperFlip Pandora’s Twist Tabled Inversion Twister Gipsy’s Gift 19 Down is OK! Exploding Pyramid The Emergency Card Two Out Of Four Isn’t Bad Swivel Display Pivot Bottom Double Lift