THE

INHTAUR
'HALF BULL, H A L F MAMIE"
C o p y r i g h t 1988 b y M a r v i n J. L e v e n t h a l & D a n i e l D . H a r l a n N o v e m b e r 1988 / C o m p l i m e n t a r y

Dan Harlan's
TRAVELING CASH
M L : I h a v e k n o w n D a n for o n l y a couple of years, b u t i n that time w e
have become good friends. H e is a v e r y creative y o u n g m a n w i t h lots
of c l e v e r m a g i c a l i d e a s . O n e o f t h e m w a s p u t t i n g o u t t h i s m a g a z i n e ,
a l t h o u g h i f y o u a s k e d D a n , h e w o u l d p r o b a b l y s a y i t w a s m y i d e a (the
truth w i l l p r o b a b l y never be k n o w n until G e r a l d o R i v e r a does a
television special o n us). D a n m a d e h i s first b i g splash o n the m a g i c
scene w i t h h i s r u b b e r b a n d effects. H e r e i s t h e d e f i n i t i v e v e r s i o n o f
one of m y favorites.

Basically, t w o rubber bands are stretched a r o u n d y o u r fingers m a k i n g

a makeshift rubber ladder. A b o r r o w e d bill is f o l d e d b y the spectator
around the t o p r u n g of the ladder. The bill then proceeds to travel, o n e
r u n g at a t i m e , f r o m t h e t o p t o t h e b o t t o m o f t h e l a d d e r w h i l e t h e
spectator i s h o l d i n g it.

T h i s effect r e q u i r e s t w o v e r y s t r e t c h y r u b b e r b a n d s t h a t a r e i d e n t i c a l .
Y o u m a y have to experiment a little using bands of different lengths
and thicknesses until y o u find the type that w o r k s best for y o u .
S t r e t c h t h e b a n d s , o n e right a b o v e t h e o t h e r , b e t w e e n t h e f i r s t j o i n t s o f
y o u r i n d e x f i n g e r s a n d l i t t l e f i n g e r s o f b o t h h a n d s ( F i g u r e 1).

B o r r o w a bill f r o m a spectator a n d ask h i m to fold i t l e n g t h w i s e a n d

then w i d t h w i s e . W h i l e y o u are g i v i n g these instructions, snap the
rubber b a n d s w i t h y o u r t h u m b s a f e w times. Then, as the spectator i s
folding the bill, y o u perform a setup that is done very q u i c k l y b u t
takes quite a bit to describe. F o r the description of the setup, the
s t r e t c h e d b a n d s w i l l b e r e f e r r e d t o as a l a d d e r w i t h f o u r r u n g s .

T o s e t u p , y o u m u s t get t h e b o t t o m r u n g o f t h e l a d d e r t o t h e t o p a n d
i n s e r t y o u r fingers i n s p e c i f i c l o c a t i o n s . T o a c c o m p l i s h t h i s feat, f i r s t
f o r m the fingers of b o t h h a n d s i n t o a loose fist. Y o u r t h u m b s t h e n
reach above the top r u n g of the ladder a n d p u s h the top three rungs
d o w n w a r d until they are a l l together a n d just above the b o t t o m r u n g
( F i g u r e 2). Y o u r t h u m b s n o w p u l l t h e t h r e e r u n g s t o w a r d y o u r s e l f a n d

INSIDE
Pendulum False Cut Page 3
From The Labyrinth Page 4
 proceed directly under the bottom r u n g . Y o u s h o u l d n o w have the top
three rungs u n d e r y o u r t h u m b s a n d the b o t t o m r u n g above them.

By bringing your hands to an upright position, your thumbs w i l l

a u t o m a t i c a l l y c a r r y the b o t t o m r u n g a l l the w a y to t h e t o p . A t t h i s
p o i n t t h e b a n d a r o u n d y o u r i n d e x fingers h a s n o t c h a n g e d , b u t t h e
o t h e r b a n d i s n o w l o o p e d a r o u n d y o u r l i t t l e fingers a n d u p a b o v e y o u r
t h u m b s (Figure 3 o n the p r e v i o u s page).

C o m p l e t e t h e s e t u p b y i n s e r t i n g y o u r m i d d l e fingers b e t w e e n w h a t i s
now the second and t h i r d rungs and inserting y o u r ring fingers
between w h a t is n o w the t h i r d a n d bottom rungs. Figure 4 is a
c l o s e - u p o f t h i s p o s i t i o n (the b a n d s a r e d r a w n i n d i f f e r e n t c o l o r s f o r
c l a r i t y ) . In p e r f o r m a n c e , t h e s e f i n g e r s s h o u l d b e i n s e r t e d
s i m u l t a n e o u s l y . N o w m a k e a fist a g a i n w i t h b o t h h a n d s , i f t h e y a r e
n o t fists a l r e a d y , a n d t u r n y o u r h a n d s s l i g h t l y t o w a r d y o u r s e l f t o
p r e v e n t t h e s p e c t a t o r f r o m s e e i n g t h e l o o p s a r o u n d y o u r l i t t l e fingers.
T h a t c o m p l e t e s t h e s e t u p . In p e r f o r m a n c e t h i s s h o u l d t a k e n o m o r e
than one or t w o seconds.

H a v e the spectator place the folded d o l l a r b i l l a r o u n d w h a t i s n o w the

t o p r u n g a n d h o l d t i g h t l y o n to it ( s h o w n i n F i g u r e 5 w i t h o u t the
spectator). W h i l e m o v i n g the l a d d e r back a n d forth, q u i c k l y r e m o v e
y o u r t h u m b s f r o m between the top t w o rungs. This causes the top
r u n g t o s n a p d o w n o n t o y o u r m i d d l e fingers, t h u s b e c o m i n g t h e
second r u n g . To the spectator, the b i l l appears to h a v e traveled f r o m
t h e t o p t o t h e s e c o n d r u n g ( F i g u r e 6).

Repeat the back a n d forth m o t i o n , this time r e m o v i n g the m i d d l e

fingers f r o m between the second and t h i r d rungs. This causes the
second a n d t h i r d rungs to s w i t c h places. The bill appears to h a v e
t r a v e l e d f r o m t h e s e c o n d t o t h e t h i r d r u n g ( F i g u r e 7).

Repeat the back a n d forth m o t i o n one last t i m e w h i l e r e m o v i n g the

r i n g fingers f r o m b e t w e e n t h e t h i r d a n d b o t t o m r u n g s . B e c a r e f u l h e r e .
Y o u m i g h t h a v e a t e n d e n c y to l o s e y o u r g r i p o n the l o w e r b a n d .
H o w e v e r , w i t h a l i t t l e practice, this s h o u l d n o t be too d i f f i c u l t to
o v e r c o m e . T h e b i l l n o w a p p e a r s to h a v e t r a v e l e d a l l the w a y to t h e
b o t t o m r u n g ( f i g u r e 8).

Patter for t h i s t r i c k is of an e x p l a n a t o r y n a t u r e . To b e g i n , say

s o m e t h i n g l i k e , "I a m g o i n g t o f o r m a m a k e s h i f t r u b b e r l a d d e r w i t h
four rubber rungs. I w a n t y o u to place y o u r folded bill a r o u n d the top
r u n g . N o w w a t c h w h a t happens w h e n I do this." Begin the back a n d
forth m o t i o n to m a k e the b i l l t r a v e l f r o m one r u n g to the next,
repeating u n t i l the bill is o n the b o t t o m r u n g .

C o n c l u d e t h e effect b y a s k i n g t h e s p e c t a t o r , " W o u l d y o u l i k e t o see i t

go back to the t o p ? " W h e n the spectator says yes (and h e w i l l ) , rotate
y o u r h a n d s so that the back of y o u r h a n d s are f a c i n g y o u . This t u r n s
the l a d d e r u p s i d e d o w n , b r i n g i n g the b i l l to the t o p . Say, "There y o u
are," w h i c h s h o u l d e l i c i t a r e s o u n d i n g a m o u n t o f l a u g h t e r (or g r o a n s ) .

H o r n i n g i n : T h e o n l y d i f f i c u l t y y o u m a y h a v e i n d o i n g t h i s effect i s
getting into the setup secretly. H a v i n g the spectator f o l d the b i l l
u s u a l l y s u p p l i e s a m p l e m i s d i r e c t i o n . W a t c h t h e s p e c t a t o r ' s eyes. W h e n
t h e y are m o m e n t a r i l y d i v e r t e d , d o it. A s an alternative, y o u m i g h t
w a n t to t r y d r o p p i n g y o u r h a n d s m o m e n t a r i l y b e l o w the e d g e of the
t a b l e (if y o u a r e w o r k i n g at one) t o get i n t o i t W h i c h e v e r w a y y o u u s e
t o get i n t o t h e s e t u p , I t h i n k t h i s i s o n e g r e a t effect. T r y i t , a n d I t h i n k
you will agree.*
Troy Hooser'si
PENDULUM FALSE CUT
M L : H e r e is a false cut that I p a r t i c u l a r l y l i k e . I t h i n k i t is because it is
e a s y t o d o , i s s o m e w h a t flourishy, a n d I w a s g i v e n T r o y ' s p e r m i s s i o n
to u s e i t h e r e . S e r i o u s l y , t h i s i s o n e f a l s e c u t I u s e q u i t e o f t e n . T r o y i s a
g o o d friend a n d a fine m a g i c i a n w h o I a m sure y o u w i l l be r e a d i n g
m o r e of i n these pages i n the future. B y the w a y , congratulations to
T r o y a n d h i s w i f e L i s a o n t h e b i r t h o f t h e i r n e w s o n (I g u e s s y o u can't
g i v e b i r t h t o a n o l d son), D a r e k .

Begin b y h o l d i n g the deck f r o m above w i t h y o u r right h a n d , t h u m b

r e s t i n g o n t h e i n n e r s h o r t s i d e o f t h e d e c k a n d i n d e x , m i d d l e , a n d ring
fingers resting a l o n g the outer short side. W i t h the tip of y o u r right
i n d e x f i n g e r , l i f t u p a p p r o x i m a t e l y t h e t o p t h i r d of t h e d e c k a n d m o v e
b o t h y o u r i n d e x finger a n d the outer edge of the t o p t h i r d to the left.
W i t h t h e s i d e o f y o u r right t h u m b a c t i n g as t h e f u l c r u m , t h e t o p t h i r d
o f t h e d e c k s h o u l d m o v e d i a g o n a l l y o f f t h e t o p o f t h e deck. N o w p l a c e
y o u r left t h u m b o n the d i a g o n a l t o p t h i r d a n d t a k e i t i n t o the f o r k of
y o u r l e f t t h u m b ( F i g u r e 1). T h i s i s t h e b e g i n n i n g o f w h a t i s u s u a l l y
c a l l e d t h e k i c k o r s w i n g cut.

C o n t i n u e b y p e r f o r m i n g t h e f o l l o w i n g a c t i o n s w i t h y o u r l e f t a n d right
h a n d s s i m u l t a n e o u s l y . Y o u r left h a n d b e g i n s to t u r n p a l m d o w n .
H o w e v e r , it stops w h e n the cards it h o l d s are i n a vertical p o s i t i o n
w i t h t h e s h o r t e d g e o f t h e c a r d s p a r a l l e l to t h e floor. Y o u r right h a n d
t u r n s p a l m u p so that its cards are also v e r t i c a l w i t h t h e s h o r t edge
p a r a l l e l t o t h e floor. F i g u r e 2 g i v e s a b i r d ' s e y e v i e w of t h i s p o s i t i o n .

B r i n g the t w o portions of the deck t o w a r d s each o t h e r so t h a t y o u r l e f t

t h u m b a n d i n d e x , m i d d l e , a n d ring f i n g e r s can take approximately the
b o t t o m h a l f o f t h e c a r d s h e l d i n y o u r right hand. M a i n t a i n a fair size
gap between this portion and the cards already i n y o u r left h a n d
( F i g u r e 3, a n o t h e r b i r d ' s eye v i e w ) . N o w t u r n y o u r left h a n d to its
previous p a l m u p position.

Y o u r p a l m u p right h a n d n o w m o v e s t o w a r d y o u r l e f t h a n d s o t h a t
the p o r t i o n of the cards o n the p a l m of y o u r left h a n d go b e t w e e n the
i n d e x a n d m i d d l e fingers of y o u r right h a n d , s c i s s o r - f a s h i o n ( F i g u r e 4).
P u l l b a c k w i t h y o u r right h a n d , r e m o v i n g t h i s p o r t i o n f r o m y o u r l e f t
h a n d a n d a l l o w the r e m a i n i n g p o r t i o n of cards i n y o u r left h a n d to fall
against y o u r left p a l m .

N o w t u r n y o u r right h a n d p a l m d o w n a n d p l a c e t h e p o r t i o n o f c a r d s
h e l d b y t h e t h u m b a n d f i n g e r s o f y o u r right h a n d o n t o p o f t h e c a r d s
i n y o u r l e f t h a n d ( F i g u r e 5). C o m p l e t e t h e c u t b y t u r n i n g y o u r right
h a n d p a l m u p again, p l a c i n g the cards currently between the index
a n d s e c o n d f i n g e r s o f y o u r right h a n d o n t o p o f t h e c a r d s i n y o u r l e f t
h a n d ( F i g u r e 6). T h e c a r d s a r e n o w b a c k i n t h e s a m e o r d e r i n w h i c h
they started.

H o r n i n g i n : T h i s false cut got its n a m e f r o m the w a y i n w h i c h the

p o r t i o n s of cards s e e m to s w i n g to a n d fro, b a c k a n d f o r t h , left a n d
right, u p a n d d o w n (I t h i n k y o u get t h e i d e a ) i n t h e h a n d s . T h e r e i s a
c e r t a i n r h y t h m t o i t , b u t a f t e r j u s t a f e w t r i e s , i t s h o u l d b e g i n t o flow
s m o o t h l y . I l i k e it because a lot seems to h a p p e n w i t h an e c o n o m y of
m o t i o n . In f a c t , s e v e r a l m a g i c i a n s I h a v e s h o w n t h i s to h a v e a s k e d i f
t h e c a r d s w e r e b a c k i n t h e i r o r i g i n a l o r d e r at t h e e n d . *
 FROM THE LABYRINTH
M L : Every time a new magic magazine is born, magicians w o r l d w i d e
are h e a r d to utter, "Just w h a t the w o r l d needs is another m a g i c

THE MINOTAUR m a g a z i n e . " A t least that's w h a t they utter i n E n g l i s h s p e a k i n g

countries. I guess French o r S p a n i s h m a g i c i a n s w o u l d utter s o m e t h i n g
"Half Bull, Half Magic" i n F r e n c h o r S p a n i s h . A t a n y rate, i t w o u l d m e a n t h e s a m e t h i n g . W e l l ,
D a n a n d I c o u l d n ' t agree m o r e . N o t w i t h the fact that F r e n c h or
M a r v L e v en t h a i S p a n i s h m a g i c i a n s w o u l d utter s o m e t h i n g i n French or S p a n i s h . That
Editor-in-Chief g o e s w i t h o u t s a y i n g (so w h y d i d w e s a y i t ) . O f c o u r s e w e a g r e e w i t h
that. B u t , w e also couldn't agree m o r e that just w h a t the w o r l d needs
Dan Harlan i s a n o t h e r m a g i c m a g a z i n e (I g u e s s w e c o u l d agTee m o r e i f w e t r i e d ,
Creative G e n i u s & Illustrator but w e didn't really try).

Subscriptions: T H E M I N O T A U R is H o w w e a r r i v e d at t h i s s o m e w h a t s u r p r i s i n g c o n c l u s i o n i s s t i l l a b i t
p u b l i s h e d at l e a s t q u a r t e r l y o r f o u r
m u r k y at best, b u t i f m e m o r y serves m e correctly, it c a m e to p a s s o n e
times a year, w h i c h e v e r comes first
e v e n i n g o v e r w h a t s t a r t e d o u t as a p e r f e c t l y n o r m a l d i n n e r at a
(more often i f w e feel u p to it). S i n g l e
issues are $5.00. Y o u can save yourself s o m e w h a t nondescript Italian restaurant. A s usual, w h e n any t w o
a c o u p l e of b u c k s b y s u b s c r i b i n g . A m a g i c i a n s get t o g e t h e r , t h e c o n v e r s a t i o n d r i f t e d t o m a g i c , u l t i m a t e l y
one year s u b s c r i p t i o n (four issues) i s d r i f t i n g t o t h e c u r r e n t state o f m a g i c p e r i o d i c a l s .
$18.00. O h i o r e s i d e n t s , p l e a s e a d d
applicable state & local sales tax. Make D a n a n d I agreed that the current c r o p of m a g i c m a g a z i n e s , be t h e y of
y o u r check or m o n e y order p a y a b l e to the n e w s or trick variety, r a n g e d f r o m m e d i o c r e to excellent. A l l struck
T H E M I N O T A U R and m a i l it to: u s as h a v i n g s o m e r e d e e m i n g q u a l i t i e s , s o m e m o r e t h a n o t h e r s .

THE MINOTAUR
O n the surface there a p p e a r e d to be n o m a g i c a l v o i d that needed
P . O . B o x 25
filling. W e d i d not let that stop us. W e t r u d g e d o n w a r d , f i r m l y stuck
B r e c k s v i l l e , O H 44141-0025
i n the belief that there w a s s o m e t h i n g l a c k i n g i n the other magazines.
T h e f a c t t h a t w e c o u l d n o t p u t o u r finger o n w h a t t h a t s o m e t h i n g w a s
Submissions: Your editorial
d i d n o t d e t e r u s i n t h e least.
s u b m i s s i o n s (tricks, bits of b u s i n e s s ,
essays, comments, anecdotes, fan m a i l ,
etc., and magical ramblings i n general) U n d a u n t e d , a n d w i t h o u t the influence of alcohol or d r u g s , w e decided
are not o n l y w e l c o m e , but encouraged t h a t w e w o u l d s t a r t o u r o w n m a g a z i n e . It's s t i l l u n c l e a r e x a c t l y w h e n
i n order to assure the future v i a b i l i t y w e a c t u a l l y lost sight of o u r senses ( m a y b e the w a i t e r s l i p p e d
of t h i s f i n e p u b l i c a t i o n . Y o u r s o m e t h i n g i n t o o u r pasta). Regardless, s u c h i s the essence of h o w this
s u b m i s s i o n s w i l l be r e t u r n e d i f a magazine was born.
self-addressed, stamped envelope is
included. B u t w h a t s h o u l d w e n a m e OUT n e w b r a i n c h i l d ? W e l l , I w o u l d l i k e to
tell y o u that w e scoured the earth i n search of a suitable name. So I
P e r m i s s i o n s : N o p a r t of t h i s
w i l l . W e s c o u r e d the earth i n search of a suitable n a m e . H o w e v e r ,
p u b l i c a t i o n s m a y be r e p r o d u c e d , i n
s u c h i s n o t t h e case. W e a c t u a l l y c a m e u p w i t h the n a m e o v e r d i n n e r
a n y f o r m , b y a n y m e a n s , be i t
electronic, m e c h a n i c a l , p h o t o c o p y i n g , that same evening. W e p o n d e r e d the n a m e s of m a g i c magazines b o t h
or even a p e n c i l w i t h o u t the w r i t t e n past and present h o p i n g for some inspiration. E v i d e n t l y i n s p i r e d , I
permission of Dan and M a r v . b l u r t e d o u t w h a t w a s to b e c o m e t h e m a g a z i n e ' s n a m e . N o t to be
o u t d o n e , D a n f o l l o w e d w i t h w h a t w a s to become the m a g a z i n e ' s
A d v e r t i s i n g : W r i t e to T H E s l o g a n . J u s t t h a t e a s y , j u s t t h a t q u i c k . A n d so i t c a m e to be:
M I N O T A U R for a d v e r t i s i n g
information. Please be sure to i n c l u d e a THE MINOTAUR
t e l e p h o n e n u m b e r w h e r e y o u can be
"Half Bull, Half Magic"
reached.

If y o u h a v e n ' t figured i t o u t yet, t h i s i s s o m e o f t h e " b u l l " ( a l t h o u g h it's

THE M I N O T A U R
Copyright 1988 entirely true).
by M a r v i n J. Lev en thai
and Daniel D . H a r l a n Please accept this sneak p r e v i e w issue w i t h our c o m p l i m e n t s . R e a d it.
A l l Rights Reserved Enjoy it. B u t m o s t i m p o r t a n t l y , subscribe to it. F u t u r e issues guarantee
Printed i n the U . S . A . a m i n i m u m of t w e l v e ( a l t h o u g h w e are s h o o t i n g f o r sixteen) m a g i c a l ,
11/88-1 m y s t i c a l , c r y p t i c , entertaining, b a f f l i n g , esoteric, z a n y , h i g h - s p i r i t e d ,
p u z z l i n g (to n a m e j u s t a f e w s u i t a b l e a d j e c t i v e s ) p a g e s . L o o k i n t h e
b o x to t h e l e f t f o r s u b s c r i p t i o n i n f o r m a t i o n . *
 THE
INHTAUR
5
H^LF BULL, H ^ L F MAMIE"
C o p y r i g h t 1989 b y M a r v i n J. L e v e n t h a l & D a n i e l D . H a r l a n F e b r u a r y 1989 / $5.00

Dave Dillon & Marv Leventhal's

R.P.M. M L : If s o m e o n e t o l d y o u h e h a d a n e w p a d d l e m o v e , w h a t w o u l d y o u r
r e a c t i o n be? N o d o u b t y o u r i n t e l l e c t u a l c u r i o s i t y w o u l d get t h e b e s t o f
y o u , a n d y o u w o u l d ask, n o . . . b e g , t o see i t , t h a t i s o n c e y o u r
u n c o n t r o l l a b l e l a u g h t e r s u b s i d e d . That w a s k i n d of the reaction I got
w h e n I first suggested such a t h i n g to D a n . W e l l , scoff i f y o u w i s h , b u t
f $ ' h e r e i s a n e w p a d d l e m o v e , a n d a g o o d o n e at t h a t . I h a v e s h o w n i t t o
s e v e r a l m a g i c i a n s , a n d so f a r n o n e r e c a l l h a v i n g e v e r seen a n y t h i n g l i k e
it i n print previously. A n d b y the w a y , D a n is not l a u g h i n g a n y m o r e H e
a c t u a l l y uses the m o v e i n h i s o w n r o u t i n e

A l t h o u g h m y n a m e a p p e a r s as c o - o r i g i n a t o r o f The Revolution-ary
1
Paddle Move, o r R.P.M. as i t h a s c o m e t o be c a l l e d , m o s t o f t h e c r e d i t
s h o u l d go to D a v e D i l l o n . D a v e c a m e u p w i t h the concept; I m e r e l y
helped refine it and w o r k e d out w h a t little h a n d l i n g there is.

It a l l c a m e a b o u t o n e S a t u r d a y a f t e r n o o n at M a r v e l o ' s M a g i c S h o p i n
C u y a h o g a F a l l s , O h i o (that's just o u t s i d e of A k r o n ) . M a r v e l o ' s i s the
S a t u r d a y a f t e r n o o n h a n g o u t f o r l o c a l area m a g i c i a n s (hey, M a r v e l o , y o u
o w e m e one for the free p l u g ) . There I w a s l e n d i n g a h e l p i n g h a n d
behind the counter, w h i l e D a v e w a s relaxing b y s a n d i n g his balls,
m u l t i p l y i n g b a l l s t h a t i s . Y o u see, D a v e i s s o m e w h a t o f a fanatic w h e n i t
c o m e s t o t h e m u l t i p l y i n g b a l l s t r i c k . In h i s q u e s t f o r t h e perfect b a l l a n d
shell, he i s a l w a y s s a n d i n g a n d r e p a i n t i n g the ones h e already o w n s a n d
b u y i n g n e w o n e s so h e c a n s a n d a n d r e p a i n t t h o s e too. H o p e f u l l y , I w i l l
2 b e able t o get D a v e t o c o n t r i b u t e a c o u p l e o f h i s b a l l m o v e s f o r a f u t u r e
i s s u e N o w back t o o u r s t o r y a l r e a d y i n p r o g r e s s .

A f t e r I h a d d e m o n s t r a t e d t h e " H o t R o d " t o a c u s t o m e r , I w a s still t o y i n g

w i t h i t H o p e f u l l y , y o u are already f a m i l i a r w i t h the " H o t R o d " a n d the

3
1
1 5
N
7
S
1 9
D 10
E
F r o m the L a b y r i n t h 12
s t a n d a r d p a d d l e m o v e . If n o t , s t o p b y M a r v e l o ' s s o m e S a t u r d a y
a f t e r n o o n , a n d w e w i l l be g l a d to s h o w y o u ( M a r v e l o , y o u o w e m e
a n o t h e r one). A n y w a y , D a v e g o t t h i s p e n s i v e l o o k o n h i s face (or m a y b e
h e just accidently s a n d e d h i s fingers) a n d suggested t r y i n g to d o the
p a d d l e m o v e w i t h o u t t u r n i n g m y h a n d at t h e w r i s t . A l t h o u g h i n i t i a l l y I
d i d n o t k n o w w h a t h e w a s t a l k i n g a b o u t , R.P.M. i s w h a t u l t i m a t e l y
evolved.

T o p u t i t s i m p l y , R.P.M. i s a p a d d l e m o v e d o n e w h i l e t w i r l i n g t h e " H o t
R o d " as i f i t w e r e a b a t o n . In a r e m o t e k i n d o f w a y , i t i s r e m i n i s c e n t of
the V e r n o n w a n d s p i n n i n g m o v e . A l t h o u g h R.P.M. c a n b e u s e d i n m o s t
any trick in w h i c h a p a d d l e m o v e is e m p l o y e d , I w i l l give the
e x p l a n a t i o n i n t h e c o n t e x t of u s i n g a " H o t R o d . " F r o m h e r e o n i n , I w i l l
refer to the " H o t R o d " as o n l y the r o d .

H o l d t h e r o d h o r i z o n t a l l y at i t s c e n t e r b e t w e e n y o u r t h u m b a n d i n d e x
a n d m i d d l e fingers, t h u m b o n t o p , i n d e x a n d m i d d l e fingers b e l o w . Y o u r
i n d e x a n d m i d d l e fingers s h o u l d b e p a r a l l e l t o t h e f l o o r , a n d y o u r r i n g
a n d l i t t l e fingers s h o u l d be b e n t s l i g h t l y ( F i g u r e 1 o n the p r e v i o u s page).

T o t w i r l the r o d , start b y m o v i n g y o u r i n d e x finger f r o m b e l o w the r o d s o

that it rests o n t o p of the r o d (Figure 2 on the p r e v i o u s page). B y
p r e s s i n g d o w n w i t h y o u r i n d e x finger a n d m o v i n g y o u r t h u m b o u t o f t h e
w a y , t h e e n d of t h e r o d n e a r e r to y o u s h o u l d r e v o l v e u p w a r d s o t h a t t h e
r o d i s h e l d v e r t i c a l l y b y o n l y y o u r i n d e x a n d m i d d l e fingers ( F i g u r e 3).

C o n t i n u e b y m o v i n g y o u r t h u m b t o t h e s i d e of the r o d n e a r e r to y o u o n
t o p o f y o u r m i d d l e finger ( F i g u r e 4). P u s h t h e r o d f o r w a r d w i t h y o u r
t h u m b w h i l e b e n d i n g i n y o u r m i d d l e finger so t h a t i t i s h e l d b e t w e e n
y o u r t h u m b a n d i n d e x finger. T h i s r e v o l v e s t h e r o d b a c k t o a h o r i z o n t a l
p o s i t i o n , c o m p l e t i n g t h e t w i r l . B y m o v i n g y o u r m i d d l e finger b a c k u n d e r
the r o d next to y o u r i n d e x finger, y o u s h o u l d be b a c k i n the p o s i t i o n y o u
started, except that n o w the o p p o s i t e side of the r o d is s h o w i n g . O f
course, the t w i r l i n g of t h e r o d s h o u l d b e d o n e i n one c o n t i n u o u s m o t i o n .

If y o u h a v e f o l l o w e d a l o n g s o far, c o n g r a t u l a t i o n s ; y o u h a v e t u r n e d t h e
rod over, s h o w i n g both sides. I k n o w , b i g deal, but I thought I s h o u l d
e x p l a i n t h e t w i r l i n g of the r o d before t h r o w i n g i n the p a d d l e m o v e .

N o w f o r t h e g o o d p a r t . T h e p a d d l e m o v e i s e x e c u t e d at t h e p o i n t n e a r
the e n d o f t h e t w i r l w h e n y o u r t h u m b goes b e h i n d the r o d a n d p u s h e s i t
back to a horizontal position. Here is w h a t y o u do. A s your t h u m b
pushes the r o d f o r w a r d , roll the r o d between y o u r t h u m b and index
finger a h a l f t u r n b y p u l l i n g i n w i t h y o u r i n d e x finger a n d p u s h i n g o u t
w i t h y o u r t h u m b ( F i g u r e 5 ) . If d o n e c o r r e c t l y , w h e n t h e t w i r l i s
c o m p l e t e d , the side of t h e r o d s h o w i n g i n i t i a l l y s h o u l d be s h o w i n g a g a i n .

T h e r o l l i n g a n d t w i r l i n g o f t h e r o d m u s t be c o m p l e t e d s i m u l t a n e o u s l y .
O n c e the t w i r l i s complete, a n y last second telltale r o l l i n g of the r o d
between y o u r t h u m b and index finger w i l l take a w a y f r o m the
effectiveness of the m o v e .

L i k e a n y p a d d l e m o v e , R.P.M. a l l o w s y o u to a p p a r e n t l y s h o w b o t h sides
of the r o d , w h e n i n fact y o u h a v e s h o w n the s a m e side t w i c e . T h i s c a n b e
a l i t t l e t r i c k y at first, b e c a u s e t w o a c t i o n s are t a k i n g p l a c e at t h e s a m e
time (although that's true of a n y p a d d l e move). The r o d is r e v o l v i n g
paddlewheel fashion i n one direction a n d rolling between y o u r t h u m b
a n d i n d e x finger i n a n o t h e r d i r e c t i o n . A f t e r a f e w t r i e s , y o u s h o u l d b e
 able t o get the h a n g of i t .

H o r n i n g i n : I h a v e f o u n d t h a t a s l i g h t f o r w a r d m o t i o n w i t h y o u r h a n d as
y o u c o m p l e t e R.P.M. c a n h e l p h i d e a n y l a s t s e c o n d r o l l i n g o f t h e r o d
( F i g u r e 6). H o w e v e r , D a n t e l l s m e h e h a s f o u n d , w i t h a b i t o f p r a c t i c e ,
the f o r w a r d m o t i o n is unnecessary, a n d the m o v e is undetectable even
w h e n t h e spectator's attention i s riveted o n y o u r fingers.

A l s o , i f y o u begin to roll the r o d w i t h y o u r index finger against y o u r

m i d d l e finger just before y o u r t h u m b contacts the r o d to complete the
roll and t w i r l , y o u m a y f i n d it easier to complete the t w o actions
s i m u l t a n e o u s l y . B y t h e w a y , D a v e a n d I b o t h b e g i n a n d e n d RP.M. by
h o l d i n g the r o d tilted slightly t o w a r d the spectator rather than perfectly
h o r i z o n t a l . A t a n y rate D a v e , D a n , a n d I a l l t h i n k i t i s a v e r y n a t u r a l w a y
to d i s p l a y " b o t h s i d e s " o f a p a d d l e , o n e m a t c a n b e e s p e c i a l l y d i s a r m i n g
if d o n e i n a c a s u a l m a n n e r w h i l e y o u patter.

T h e r e y o u h a v e i t , R.P.M. - The Revolution-ary Paddle Move, s o n a m e d

because the p a d d l e m o v e is performed w h i l e r e v o l v i n g the r o d between
y o u r t h u m b a n d fingers. H o w e v e r , i f y o u t h i n k i t i s r e v o l u t i o n a r y i n t h e
u s u a l sense as w e l l , w e w o n ' t m i n d . *

Tom Craven's
HEADS OR TAILS?M L : I have k n o w n T o m C r a v e n for several years a n d have a l w a y s
a d m i r e d b o t h h i s s k i l l a n d h i s creativeness. W h e n D a n a n d I d e c i d e d t h a t
w e were definitely going ahead w i t h this crazy magazine idea, I naturally
a p p r o a c h e d T o m , h o p i n g h e m i g h t h a v e a c o u p l e of i t e m s t h a t h e w o u l d
let u s use. T o m , n o t b e i n g t h e sort t h a t needs to be h i t o v e r t h e h e a d w i t h
a b a s e b a l l bat, p i c k e d u p o n m y n o t - s o - s u b t l e h i n t s a n d g r a c i o u s l y g a v e
D a n a n d m e p e r m i s s i o n t o u s e s o m e o f h i s stuff. T h a n k s T o m f o r h e l p i n g
u s get started.

T h i s effect c o m e s f r o m T o m ' s v e r y first set of l e c t u r e notes. B a s i c a l l y , y o u

scoop u p a c o i n off the table w i t h a c a r d , toss the c o i n i n t o y o u r h a n d ,
a n d the s p e c t a t o r i s a s k e d t o guess w h e t h e r i t l a n d e d i n y o u r h a n d h e a d s
o r t a i l s . R e g a r d l e s s of t h e spectator's response, the c o i n i s s h o w n t o h a v e
c h a n g e d i n t o a larger c o i n .

O b v i o u s l y , t w o c o i n s are n e e d e d t o p e r f o r m t h i s effect. In a d d i t i o n , y o u
s h o u l d b e s e a t e d at a t a b l e , s i n c e one of the coins w i l l eventually be
lapped. For explanation purposes, assume the coins to be a half dollar
a n d a s i l v e r d o l l a r . A l s o , t h e effect can be p e r f o r m e d w i t h or w i t h o u t a
d o s e - u p mat.

S t a r t w i t h t h e s i l v e r d o l l a r i n f i n g e r p a l m p o s i t i o n i n y o u r right h a n d .
This h a n d also h o l d s a p l a y i n g card on the l o n g side between y o u r
t h u m b a n d i n d e x a n d m i d d l e fingers ( H g u r e 1). T h e c a r d s h o u l d b e tilted
s l i g h t l y a w a y f r o m t h e s p e c t a t o r . T h i s w i l l a i d i n c o n c e a l i n g t h e finger
palmed silver dollar.

T o s s t h e h a l f d o l l a r o n t h e t a b l e w i t h y o u r l e f t h a n d a n d e x p l a i n to t h e
spectator, ' W e are g o i n g t o p l a y a s o r t of g u e s s i n g g a m e . T h i s i s h o w i t
w o r k s . I a m g o i n g to scoop u p the h a l f d o l l a r w i t h this card a n d toss it
i n t o m y l e f t h a n d . Y o u r j o b i s t o t r y t o see i f i t goes i n t o m y h a n d h e a d s
 o r t a i l s . " A s y o u g i v e y o u r e x p l a n a t i o n , p e r f o r m w h a t I w i l l c a l l the s c o o p
a n d toss.

The scoop a n d toss begins b y s c o o p i n g u p the h a l f d o l l a r w i t h the card

a n d m o v i n g y o u r r i g h t h a n d t o w a r d the w a i t i n g left h a n d . H o w e v e r ,
after the h a l f d o l l a r i s s c o o p e d u p w i t h t h e c a r d , the p a l m u p r i g h t h a n d
b e g i n s t o t u r n p a l m d o w n so t h a t t h e c a r d i s v e r t i c a l as y o u r right h a n d
s i m u l t a n e o u s l y reaches a n d tosses the coin i n t o y o u r o p e n left h a n d
(Figure 2 o n t h e p r e v i o u s page).

A f t e r t h e h a l f d o l l a r i s t o s s e d , y o u r left h a n d i m m e d i a t e l y closes a r o u n d
t h e c o i n . In a c o n t i n o u s a c t i o n , y o u r right h a n d m o v e s i n a n arc p a s t
y o u r l e f t h a n d s o t h a t i t f i n i s h e s t h e s c o o p a n d t o s s at t h e e d g e o f t h e
table, ( F i g u r e 3). T h i s i s i m p o r t a n t , as y o u m u s t b e i n t h i s p o s i t i o n l a t e r
i n order to s w i t c h the silver d o l l a r for the h a l f dollar. So m u c h for the
s c o o p a n d toss.

N o w o p e n y o u r l e f t h a n d a n d s h o w t h e c o i n t o be either h e a d s o r t a i l s .
S u p p o s e t h e h a l f d o l l a r s h o w s a h e a d . Say, " T h i s t i m e i t c a m e u p h e a d s . "
Toss the coin onto the table a n d repeat the scoop a n d toss of the h a l f
d o l l a r o n c e o r t w i c e m o r e , t h u s c o n d i t i o n i n g the spectator i n t o s e e i n g the
h a l f d o l l a r a c t u a l l y g o i n t o y o u r left h a n d .

C o n t i n u e b y saying, " N o w that y o u k n o w h o w to play, l e f s begin." Toss

the h a l f d o l l a r onto the table a n d p e r f o r m the scoop a n d toss. A s k the
spectator, " D o y o u t h i n k the half d o l l a r w e n t into m y h a n d heads or
tails?" O p e n y o u r left h a n d to s h o w w h e t h e r h e i s right o r w r o n g .

N e x t say, " O n the next toss I w i l l t r y to m a k e y o u m i s s for sure," a n d

p e r f o r m t h e s c o o p a n d toss o n e l a s t t i m e . H o w e v e r , t h i s t i m e w h e n y o u
scoop the half dollar, a l l o w it to w e d g e between y o u r t h u m b a n d the
c a r d ( F i g u r e 4). Y o u n o w m e r e l y p r e t e n d t o t o s s the h a l f d o l l a r i n t o y o u r
left h a n d b y c l o s i n g y o u r l e f t h a n d as i f i t j u s t r e c e i v e d t h e c o i n . Y o u r
right h a n d n o w c o n t i n u e s t o t h e edge of t h e table, as before, l a p p i n g t h e
h a l f d o l l a r ( F i g u r e 5). T h e s p e c t a t o r w i l l b e l i e v e t h a t t h e h a l f d o l l a r i s i n
y o u r left h a n d d u e to t h e p r e v i o u s c o n d i t i o n i n g .

W h i l e y o u ask t h e s p e c t a t o r f o r h i s g u e s s , w o r k t h e f i n g e r p a l m e d s i l v e r
d o l l a r f l u s h a g a i n s t t h e b a c k of t h e c a r d as y o u r right h a n d t u r n s p a l m
u p . N o w , r e g r i p the c o i n a n d c a r d b e t w e e n y o u r right t h u m b a n d i n d e x
a n d m i d d l e fingers.

L a y the c a r d a n d c o i n o n y o u r left p a l m as it o p e n s , m a k i n g sure that the

c a r d c o v e r s t h e p a l m of y o u r left h a n d as i t i s o p e n e d . T h i s h i d e s the fact
t h a t y o u r l e f t h a n d d o e s n o t c o n t a i n a c o i n as i t s h o u l d . O n c e t h e
s p e c t a c t o r h a s g i v e n y o u h i s g u e s s s a y , "I d o n ' t k n o w w h e t h e r y o u are
right o r w r o n g , b u t I d o k n o w o n e t h i n g . " R e m o v e the c a r d to r e v e a l t h e
s i l v e r d o l l a r a n d f i n i s h b y s a y i n g , "The h a l f d o l l a r seems to h a v e c h a n g e d
into a silver dollar."

H o m i n g i n : I u s u a l l y p e r f o r m t h e s c o o p a n d t o s s w i t h the p l a y i n g c a r d
5
face u p . T h e c u r v e o f t h e face u p c a r d m a k e s t h e s c o o p e a s i e r f o r m e .
A l s o , T o m i n i t i a l l y s h o w e d this to m e u s i n g a half dollar and a silver
d o l l a r , b u t a n y t w o c o n t r a s t i n g coins c o u l d be u s e d . T h e o n l y c o n d i t i o n i s
that o n e of the coins i s able to b e h e l d c o m f o r t a b l y i n a finger p a l m w h i l e
the same h a n d h o l d s a p l a y i n g card. I p e r s o n a l l y prefer the color
c h a n g i n g aspect of u s i n g a h a l f d o l l a r a n d a n E n g l i s h p e n n y . W h a t e v e r
c o i n s y o u use, it's a n i c e q u i c k e f f e c t . *
Dan Harlan's
STARCLE
D H : T h i s effect i s c l o s e l y r e l a t e d to b o t h Squirde a n d c u t t i n g a star f r o m
a f o l d e d n e w s p a p e r w i t h o n e c u t . B o t h o f t h e s e effects a r e f e a t u r e d i n
Gene Anderson's lecture on newspaper magic. I wanted to perform
s o m e t h i n g s i m i l a r t o Squirde w i t h o u t a n y p r e p a r a t i o n o f t h e p a p e r , so I
d e v i s e d a s l i g h t l y altered f o l d that r e s u l t e d i n w h a t I c a l l Starde

W i t h Starde y o u get a c o m b i n a t i o n o f b o t h o f t h e a f o r e m e n t i o n e d effects,

a n d i t i s i m p r o m p t u t o boot. In a p p e a r a n c e , y o u tear a c i r c u l a r h o l e f r o m
a f o l d e d p a p e r n a p k i n w i t h o n e tear. H o w e v e r , w h e n a s p e c t a t o r o p e n s
the t o r n o u t piece, i t i s d i s c o v e r e d t o b e a five-pointed star, n o t a circle as
e x p e c t e d . T h e f u l l r o u t i n e , w i t h s n a p p y p a t t e r i n c l u d e d at n o e x t r a
charge, i s as f o l l o w s :

B e g , steal, o r b o r r o w a s q u a r e p a p e r n a p k i n . U n f o l d t h e n a p k i n t o s h o w
it a n d say, " D o y o u k n o w w h a t I don't l i k e about paper napkins? I don't
like all of these corners." Gesture t o w a r d the comers of the n a p k i n a n d
c o n t i n u e b y s a y i n g , ' W e l l , 111 s h o w y o u h o w t o tear a perfect circle, w i t h
o n e tear, t o get r i d of t h o s e c o m e r s . "

F o l d t h e n a p k i n i n h a l f ( F i g u r e 1) a n d f o l d i t i n h a l f a g a i n ( F i g u r e 2 ) .
U n d o t h e l a s t f o l d a n d m a k e a t h i r d f o l d o f 72 degrees s t a r t i n g at t h e l e f t
e n d of t h e p r e v i o u s f o l d ( F i g u r e 3). D o n ' t p a n i c . Y o u w o n ' t n e e d a
protractor o r a mathematician to m a k e this fold, because there i s a built
i n visual check to m a k e sure y o u h a v e folded correctly. O n c e y o u
c o m p l e t e t h i s 72 d e g r e e f o l d , t h e a n g l e i n t h e l a r g e s e c t i o n s h o u l d b e
t w i c e as b i g as t h e a n g l e i n t h e s m a l l s e c t i o n ( F i g u r e 4). F o r y o u
g e o m e t r y m a j o r s , t h a t i s b e c a u s e t h e m e a s u r e m e n t s of t h e s e t w o a n g l e s
are 72 degrees a n d 3 6 degrees.

A f t e r that f o l d , t h e n e x t t w o f o l d s a r e easy. F i r s t f o l d t h e l a r g e section i n

h a l f ( F i g u r e 5 ) . If y o u h a v e m a d e t h e 7 2 d e g r e e f o l d c o r r e c t l y , t h e
r e s u l t i n g c o n e - s h a p e d s e c t i o n s h o u l d h a v e a f o l d tine d o w n i t s m i d d l e
( F i g u r e 6). N o w f o l d t h e s m a l l s e c t i o n o v e r t h e c o n e - s h a p e d s e c t i o n
c r e a t i n g a p i e - s h a p e d w e d g e ( f i g u r e s 7 & 8). It i s at t h i s p o i n t y o u w o u l d
n o r m a l l y t e a r o u t a five-pointed star, b u t t h e r e i s s t i l l o n e m o r e f o l d i n
this version.

10 Peek u n d e r t h e l a s t f o l d t o l o c a t e t h e p e a k o f t h e s e c t i o n u n d e r n e a t h t h e
cone-shaped section (Figure 9). C l o s e e v e r y t h i n g u p a n d m a k e a f o l d
a p p r o x i m a t e l y 1/2 i n c h t o t h e l e f t o f t h i s p e a k , b r i n g i n g t h e l e f t m o s t
p o i n t o f t h e w e d g e o v e r s o that a 9 0 degree a n g l e i s f o r m e d ( F i g u r e 10). If
y o u u n f o l d e d t h e n a p k i n a t t h i s p o i n t , t h e creases s h o u l d l o o k l i k e t h e
d o t t e d l i n e s i n F i g u r e 11.

12 W i t h the n a p k i n f o l d e d , y o u w i l l , i n a m o m e n t , tear across the l i n e

11 s h o w n i n F i g u r e 12. T h i s l i n e i s p e r p e n d i c u l a r t o t h e f o l d l i n e o n t h e
cone-shaped w e d g e . A s a check, peek under the last fold to locate the
b o t t o m p o i n t o f t h e s e c t i o n d i r e c t l y u n d e r n e a t h ( F i g u r e 13). T h e t e a r
s h o u l d b e g i n a p p r o x i m a t e l y 1/2 i n c h t o t h e l e f t o f t h i s p o i n t . It m a y
s o u n d c o m p l i c a t e d , b u t t h e correct l o c a t i o n f o r t h e tear c a n b e f o u n d after
a c o u p l e o f tries.
13
N o w rotate t h e f o l d e d w e d g e a h a l f t u r n c o u n t e r c l o c k w i s e a n d b e g i n t h e
t e a r ( F i g u r e 14 o n t h e p r e v i o u s p a g e ) . B e a r i n m i n d t h a t t h e w e d g e i s
n o w 20 t i m e s as t h i c k as t h e u n f o l d e d n a p k i n , s o tear s l o w l y , a l i t t l e b i t
at a r i m e , h o l d i n g t h e n a p k i n as s h o w n i n F i g u r e 15. A s y o u m a k e t h i s
tear, a p o r t i o n o f t h e n a p k i n t o t h e left o f t h e tear s h o u l d b e g i n t o d r o o p
o v e r y o u r left t h u m b . D o not, h o w e v e r , c o m p l e t e t h e tear just y e t

T h e d r o o p y p o r t i o n i s t h e star. T h e p o r t i o n h e l d b y y o u r r i g h t h a n d i s
s c r a p , w h i c h y o u m u s t s w i t c h f o r t h e s t a r p o r t i o n ( F i g u r e 16). T h i s i s
h o w i f s d o n e . U n b e k n o w n s t t o t h e s p e c t a t o r , tear o f f t h e s c r a p p o r t i o n ,
b u t l e a v e t h e star p o r t i o n intact. N o w m o v e t h e s c r a p p o r t i o n w i t h y o u r
right t h u m b a n d index finger t o the left between the n o w v e r y d r o o p y
star p o r t i o n a n d t h e rest o f t h e n a p k i n ( F i g u r e 17). B y m o v i n g y o u r l e f t
t h u m b f r o m t h e star p o r t i o n t o t h e s c r a p p o r t i o n a n d r e l e a s i n g y o u r h o l d
w i t h t h e r i g h t h a n d , y o u s h o u l d b e at t h e p o s i t i o n s h o w n i n F i g u r e 18.

E v e n w h e n the s w i t c h i s d o n e w i t h o u t a large m e a s u r e of finesse, i t

s h o u l d l o o k as i f y o u m e r e l y t o r e t h e n a p k i n a n d l e t t h e t o r n p o r t i o n
d a n g l e (just i m a g i n e h o w i t w o u l d l o o k i f y o u h a d finesse). T h i s , a l o n g
w i t h t h e f a c t t h a t y o u c a n n o w s h o w y o u r right h a n d t o b e e m p t y ,
s h o u l d e l i m i n a t e a n y t h o u g h t s o f a s w i t c h i n t h e spectator's m i n d .

Tear off the d r o o p y , d a n g l i n g star p o r t i o n a n d h a n d i t to t h e spectator,

or, i f y o u l i k e , h a v e the spectator r e m o v e this p o r t i o n a n d h o l d o n t o i t .
C o n t i n u e b y r o t a t i n g t h e r e m a i n d e r o f t h e n a p k i n h e l d b y y o u r left h a n d
a q u a r t e r t u r n c l o c k w i s e ( F i g u r e 19). U s i n g y o u r l e f t a n d right t h u m b s ,
m o v e t h e s c r a p p o r t i o n f r o m b e h i n d t h e n a p k i n i n t o a finger p a l m i n
y o u r right h a n d ( F i g u r e 20). D o n ' t b e a f r a i d t o c r u m p l e t h e s c r a p p o r t i o n .
N o o n e i s s u p p o s e d t o see i t , a n d y o u are g o i n g t o c r u m p l e i t u p i n t h e
end anyway.

N o w g r i p t h e t w o l a y e r s o f t h e rightmost p e a k as f o l l o w s : y o u r t h u m b s
go between t h e t w o layers so that t h e outermost layer i s h e l d between
y o u r l e f t t h u m b a n d i n d e x finger, a n d t h e i n n e r m o s t l a y e r i s h e l d
between y o u r right t h u m b a n d i n d e x finger ( F i g u r e 21). M o v e y o u r h a n d s
apart t o u n f o l d t h e n a p k i n a n d t o s h o w t h e circle t o r n o u t o f i t S a y , " A n d
t h e r e y o u h a v e i t , a n e a r l y p e r f e c t c i r c l e m a d e w i t h j u s t o n e tear." O n c e
a g a i n , f o r y o u g e o m e t r y m a j o r s , i t ' s n o t a c t u a l l y a circle, b u t a d e c a g o n ,
o r ten-sided p o l y g o n . H o w e v e r , i t p a s s e s r a t h e r w e l l f o r a c i r c l e

A f t e r e v e r y o n e h a s seen the circle, c r u m p l e i t u p a l o n g w i t h the scrap

portion inside, thus clevely and s i m p l y disposing of the dirty work.
C o n c l u d e b y h a v i n g the spectator open the piece h e h o l d s t o reveal the
perfect five-pointed star.

H o r n i n g i n ( M L ) : W h a t a great effect t o d o w h e n y o u h a v e to l o w e r
yourself to perform someplace that has paper (perish the thought)
i n s t e a d o f d o t h n a p k i n s . S u b s e q u e n t l y , i t s h o u l d c o m e as n o s u p r i s e t o
find o u t that b o t h D a n a n d I p e r f o r m Starde often. S e r i o u s l y t h o u g h , y o u
don't h a v e to take m y w o r d for i t that it's g o o d . Just ask anyone w h o
attended the " C l o s e - U p Encounters of the M a g i c K i n d " ( C E M K )
convention held this last N o v e m b e r i n Rochester, N e wYork. D a n
p e r f o r m e d a n d e x p l a i n e d Starde t h e r e a n d r e c e i v e d a s t r o n g f a v o r a b l e
reaction.

A l t h o u g h i t m a y r e a d s o m e w h a t c o m p l i c a t e d , it's r e a l l y f a i r l y e a s y t o d o
once y o u have learned it. B y the w a y , D a n a n d I w o u l d like to thank
K e i t h W a l k e r , o r g a n i z e r of C E M K , for g i v i n g us the o p p o r t u n i t y t o
p r e m i e r e T H E M I N O T A U R at C E M K >
John Quine's
SLIDER ACES M L : J o h n Q u i n e h a s t o b e o n e of t h e best k e p t secrets i n m a g i c , c a r d
m a g i c especially. O u t s i d e o f t h e northeast O h i o area, h e i s r e l a t i v e l y
u n k n o w n . That's r e a l l y t o o b a d , b e c a u s e J o h n i s o n e o f t h e cleverest a n d
most entertaining people w i t h a deck of cards I h a v e ever h a d the
opportunity to watch.

R e c e n t l y , J o h n h a s d e v e l o p e d s o m e t r u l y b a f f l i n g effects d e s i g n e d t o b e
done w i t h a b o r r o w e d deck. O n e of h i s full routines w i t h a b o r r o w e d
d e c k c a n b e f o u n d i n h i s f i r s t b o o k ( h o p e f u l l y n o t h i s l a s t ) , The Card
Magic of John Quineby T o m C r a v e n . The book also includes a n e w
p r i n c i p l e i n m a g i c , s u i t a b l y n a m e d Quine's Keeper, a l o n g w i t h s e v e r a l
effects u s i n g i t . Slider Aces m a k e s u s e o f Quine's Keeper i n a s l i g h t l y
different w a y t h a n t h o s e effects i n c l u d e d i n h i s b o o k .

Slider Aces i s s i m i l a r i n c o n c e p t t o D a i V e r n o n ' s Cutting The Aces o u t o f

Stars of Magic T h a t i s , after f i n d i n g t h r e e o f t h e aces, y o u m i s s f i n d i n g
t h e l a s t ace, b u t w h a t e v e r c a r d c o m e s u p , y o u c o u n t t h a t f a r d o w n i n t h e
d e c k t o f i n d t h e l a s t ace. Slider Aces i s a l s o a n o u t g r o w t h o f a s l i d i n g
p r i n c i p l e t h a t J o h n tells m e h e first s a w i n a t r i c k c a l l e d No Sliding f r o m
K a r l F u l v e s ' Book of Numbers.

Prior to performance, preset the f o l l o w i n g seven cards f r o m the t o p of

t h e face d o w n d e c k : i n d i f f e r e n t c a r d , ace, ace, ace, a n y s e v e n , i n d i f f e r e n t
c a r d , a c e ( F i g u r e 1). H o l d t h e d e c k i n d e a l i n g p o s i t i o n i n y o u r l e f t h a n d
a n d b e g i n b y s a y i n g , " A neat w a y t o s h u f f l e t h e c a r d s i s t o t a k e a g r o u p
off the top, p u s h t h e m i n t o the center of the deck a n d o u t the back so
t h a t y o u c a n see a r e a l l y r a n d o m g r o u p o f c a r d s c o m i n g right o u t o f t h e
m i d d l e o f t h e deck, a n d t h e n s h u f f l e t h e m a l l o n t o p . "

M a t c h the p r e v i o u s patter to the f o l l o w i n g m i x i n g action. C u t off

a p p r o x i m a t e l y t h e t o p q u a r t e r o f t h e d e c k a n d w e a v e (faro shuffle) i t i n t o
the i n n e r e n d o f t h e r e m a i n i n g three q u a r t e r s o f t h e d e c k ( F i g u r e 2).
L e a v e t h e s m a l l e r p o r t i o n i n j o g g e d f o r a b o u t three q u a r t e r s o f i t s l e n g t h .
O n l y t h e seven c a r d s e t u p m u s t w e a v e perfectly, e v e r y o t h e r c a r d .

T u r n t h e d e c k a r o u n d i n y o u r l e f t h a n d u s i n g y o u r right h a n d ( F i g u r e 3)
so that t h e s m a l l e r p o r t i o n i s n o w o u t j o g g e d . P u s h t h e o u t j o g g e d p o r t i o n ,
p l u n g e r f a s h i o n , t h r o u g h the deck b y p r e s s i n g d o w n w i t h y o u r left
t h u m b o n t o p of t h e deck a n d p u s h i n g i n w a r d o n t h e outjogged p o r t i o n
w i t h y o u r left i n d e x finger ( F i g u r e 4 o n t h e n e x t page). T h i s w i l l c a u s e a l l
t h e c a r d s p r e v i o u s l y a b o v e a n d b e l o w t h e outjogged p o r t i o n to a l i g n w i t h
i t a n d l e a v e a r e a l l y r a n d o m g r o u p o f w e a v e d cards i n j o g g e d ( f i g u r e 5 o n
the next page).

W i t h y o u r p a l m d o w n right h a n d , g r a s p t h e i n j o g g e d p o r t i o n w i t h y o u r
right t h u m b o n o n e s i d e a n d y o u r right m i d d l e a n d ring fingers o n t h e
o p p o s i t e side, w h i l e y o u r right i n d e x finger p u s h e s d o w n o n t o p . L o o s e n
y o u r left h a n d g r i p a n d slide the injogged p o r t i o n a n d a l l the cards
i n t e r w o v e n w i t h t h e m o u t t h e right s i d e o f t h e d e c k ( f i g u r e 6 o n t h e n e x t
page).

C o m p l e t e the m i x i n g action b y p l a c i n g the i n t e r w o v e n cards on t o p a n d

squaring the deck. C a s c a d i n g the i n t e r w o v e n cards o n t o p of the deck
 l o o k s n i c e a n d a l i t t l e f l o u r i s h y h e r e A s a check, the t o p t w e l v e c a r d s o f
t h e d e c k at t h i s p o i n t s h o u l d be, i n d i f f e r e n t c a r d , ace, i n d i f f e r e n t c a r d ,
ace, i n d i f f e r e n t c a r d , ace, i n d i f f e r e n t c a r d , seven f r o m o r i g i n a l setup, three
m o r e i n d i f f e r e n t cards, a c e

X N o w say, "Here's a neat t h i n g about t h i s k i n d o f s h u f f l e If I s h u f f l e right

i n t o the m i d d l e of the deck, a n d I don't f i n i s h the shuffle, I h a v e a little
block u p here that w i l l slide back a n d forth." O n c e again, m a t c h i n g
a c t i o n s to w o r d s , c u t o f f a p p r o x i m a t e l y t h e t o p q u a r t e r o f t h e d e c k a n d
w e a v e i t i n t o the i n n e r e n d o f t h e r e m a i n i n g t h r e e q u a r t e r s o f t h e d e c k ,
l e a v i n g the s m a l l e r p o r t i o n injogged f o r a b o u t three quarters o f its l e n g t h .
T h i s t i m e the t o p t w e l v e cards m u s t w e a v e perfectly.

T u r n the deck a r o u n d so that the s m a l l e r p o r t i o n i s n o w ourjogged a n d

tilt y o u r left h a n d s l i g h t l y f o r w a r d a n d relax i t s g r i p so t h a t the b l o c k o f
cards above the t o p c a r d of the n o w ourjogged p o r t i o n slides f o r w a r d .
Y o u r left i n d e x finger at t h e f r o n t o f the o u r j o g g e d p o r t i o n acts as a s t o p
( F i g u r e 7 o n the n e x t page). T h i s i s t h e s l i d e r p r i n c i p l e that w a s r e f e r r e d
t o f r o m the F u l v e s b o o k Repeat t h i s t u r n a n d s l i d e p r o c e d u r e a g a i n .

C o n t i n u e b y saying, " N o w if I pull out w h a t w a s under that block, I

m i g h t h a p p e n to get an a c e " R e m o v e the t o p c a r d o f the i n j o g g e d p o r t i o n
a n d t u r n i t o v e r t o reveal an a c e

" L e t ' s see w h a t t h e n e x t c a r d i s i f I d o t h a t a g a i n . L o o k , a n o t h e r ace."

Repeat the t u r n a n d s l i d e p r o c e d u r e t w i c e R e m o v e the t o p c a r d of the
i n j o g g e d p o r t i o n to r e v e a l the s e c o n d a c e

" O n c e a g a i n a n d t h e r e ' s a n o t h e r ace." O n c e a g a i n , r e p e a t t h e t u r n a n d

s l i d e p r o c e d u r e t w i c e a n d r e m o v e the t o p c a r d o f the i n j o g g e d p o r t i o n t o
r e v e a l the t h i r d a c e

"The neatest t h i n g about this t y p e of shuffle i s that it doesn't m a k e a n y

d i f f e r e n c e w h e t h e r y o u get a l l t h e a c e s o r n o t . I p r o b a b l y w i l l n o w
b e c a u s e t h i n g s h a v e g o n e a l o n g p r e t t y w e l l . A n d there's t h e l a s t . . ., n o I
g o t a d i f f e r e n t c a r d . I g o t a s e v e n . " O n e l a s t time, r e p e a t t h e t u r n a n d
s l i d e p r o c e d u r e t w i c e a n d r e v e a l t h e t o p c a r d o f the i n j o g g e d p o r t i o n t o
be the seven f r o m the o r i g i n a l setup.

" N o w I c a n s h o w y o u w h a t I m e a n . It d o e s n ' t m a k e a n y d i f f e r e n c e as
l o n g as I k e e p w o r k i n g o u t o f t h e m i d d l e o f t h e d e c k a n d u s e t h a t
n u m b e r , i n t h i s case a seven. So i f I c o u n t d o w n one, t w o , three, four,
five, s i x - the s e v e n t h c a r d d o w n f r o m the m i d d l e of t h e deck w i l l be the
l a s t ace." A s i n t h e m i x i n g a c t i o n , l o o s e n y o u r l e f t h a n d g r i p a n d w i t h
y o u r right h a n d s l i d e t h e i n j o g g e d p o r t i o n a n d a l l t h e c a r d s i n t e r w o v e n
w i t h t h e m o u t t h e right s i d e o f t h e d e c k ( F i g u r e 6 a g a i n ) . P l a c e t h e
portion r e m a i n i n g i n y o u r left h a n d aside. Square the i n t e r w o v e n cards
c u r r e n t l y i n y o u r right h a n d , a n d c o n c l u d e b y c o u n t i n g d o w n t o t h e
s e v e n t h c a r d a n d r e v e a l i n g it to b e the l a s t a c e

H o m i n g i n : Needless to say, y o u p r o b a b l y d o not w a n t to p e r f o r m this

effect w i t h j u s t a n y d e c k . A n o l d d e c k c o u l d m a k e t h i s effect h a z a r d o u s
to y o u r reputation, w h a t w i t h all the p u s h i n g , sliding, and w e a v i n g . A
f a i r l y n e w d e c k w o r k s best. A l s o , i t i s a g o o d i d e a to s q u a r e u p b o t h t h e
i n j o g g e d p o r t i o n a n d the o u t j o g g e d p o r t i o n after each of the s l i d i n g
p r o c e d u r e s , s h o u l d the c a r d s d e c i d e n o t t o s l i d e p e r f e c t l y i n a b l o c k . It's a
g o o d effect, e s p e c i a l l y f o r t h o s e o f us w h o are n o t perfect f a r o s h u f f l e r s ,
s i n c e y o u d o n o t h a v e t o s p l i t t h e deck i n t o t w o equal h a l v e s b y s i g h t o r
 w o r r y a b o u t " i n " o r "out" shuffles to p e r f o r m i t

I k n o w I d i d n o t r e v e a l w h a t Quine's Keeper is. Y o u w i l l h a v e t o get

J o h n ' s b o o k f o r t h a t ( l o o k f o r t h e a d i n t h e J a n u a r y 1989 i s s u e o f The
Linking Ring). I w i l l t e l l y o u t h a t a l t h o u g h i t r e q u i r e s y o u t o b e a b l e to
f a r o s h u f f l e a s m a l l n u m b e r o f c a r d s i n t o t h e center o f t h e deck, o n l y o n e
c a r d n e e d s t o be p e r f e c t l y p l a c e d . If y o u w o u l d l i k e m o r e i n f o r m a t i o n
a b o u t t h e b o o k , w r i t e t o T H E M I N O T A U R a n d I w i l l see t h a t y o u r
request i s f o r w a r d e d to T o m C r a v e n , w h o i s d i s t r i b u t i n g John's b o o k . ^

Steve Cohen's
COINS FROM NAPKIN
D H : S t e v e C o h e n w i l l b e a f a m i l i a r n a m e to a n y o n e w h o h a s seen h i m
p e r f o r m i n t h e c l o s e - u p c o n t e s t at t h e n a t i o n a l I . B . M . c o n v e n t i o n . T h i s
y o u n g m a n f r o m N e w Y o r k t o o k t h e t o p J u n i o r h o n o r s i n 1987 w i t h t h e
effortlessness of a seasoned p e r f o r m e r . B u t , i n fact, Steve p u t s m o r e effort
i n t o h i s m a g i c t h a n m a n y p e o p l e r e a l i z e . E a c h o f h i s fine effects h a s been
r e c o r d e d i n h i s ' i d e a b o o k , " w h i c h h a s often f o r m e d t h e basis f o r m a n y o f
our collaborative sessions. Steve is a creative person w i t h excellent
p e r f o m i n g s k i l l s , as y o u w i l l d i s c o v e r f r o m t h i s e f f e c t a n d h i s f u t u r e
contributions.

Steve needed a g o o d coin p r o d u c t i o n to open the routine h e uses i n

restaurants, so h e created t h i s . A s h e says, "It gets r e a l l y s t r o n g reactions
. . . i t s h o w s right a w a y t h a t y o u c a n d o M A G I C . " B a s i c a l l y , a f t e r
a p p r o a c h i n g a table, y o u p r o d u c e a c o u p l e of half d o l l a r s f r o m an
i n n o c e n t l i t t l e p a p e r n a p k i n ( h m m m , t h i s just m i g h t w o r k r e a l l y w e l l i n
c o n j u c t i o n w i t h Starde). Y o u t h e n h a n d t h e n a p k i n t o a s p e c t a t o r w h o
d i s c o v e r s another c o i n i n i t

Y o u n e e d t h r e e h a l f d o l l a r s t o p e r f o r m t h i s effect, a l t h o u g h o n l y o n e o f
t h e m i s i n a c t i v e u s e to e l i m i n a t e e x c e s s p a l m i n g ( y o u w i l l see w h a t I
m e a n i n j u s t a m o m e n t ) . P u t t w o o f t h e c o i n s i n y o u r right p a n t s p o c k e t
a n d c o n c e a l t h e t h i r d c o i n i n a c l a s s i c p a l m i n y o u r right h a n d . N o w , go
find a p a p e r c o c k t a i l n a p k i n a n d h o l d t h i s i n y o u r left h a n d . Y o u are n o w
r e a d y t o a p p r o a c h y o u r f i r s t t a b l e (or a n y o t h e r p i e c e o f f u r n i t u r e y o u
m i g h t be p e r f o r m i n g for).

U n f o l d t h e n a p k i n w i t h b o t h h a n d s (be c a r e f u l n o t t o f l a s h t h e c o i n i n
y o u r right h a n d ) a n d d r a p e i t o v e r y o u r p a l m u p l e f t h a n d . T h e n a p k i n
s h o u l d l a y d i a g o n a l l y across y o u r a r m w i t h one c o m e r p o i n t i n g to the
rear, o n e c o m e r i n front, a n d t h e center o v e r y o u r left p a l m ( f i g u r e 1).

G r a b t h e f r o n t c o m e r w i t h y o u r right fingertips a n d f l i p t h e n a p k i n o v e r
b y p u l l i n g u p a n d t o t h e rear, t h u s a l l o w i n g t h e rear c o m e r t o s l i d e o v e r
y o u r left h a n d a n d b e c o m e t h e f r o n t c o m e r , as y o u set t h e c o m e r h e l d b y
y o u r right h a n d o n t o y o u r a r m . T h i s m o t i o n i s i m p o r t a n t as i t w i l l b e
u s e d t o l o a d the c o i n i n y o u r right h a n d .

F l i p t h e n a p k i n o v e r a c o u p l e of t i m e s as y o u t a l k t o s t r e s s i t s
unprepared condition. N o w , u s i n g the same motion, fold the n a p k i n i n
h a l f d i a g o n a l l y f r o m f r o n t t o back a n d l o a d t h e c o i n . T h e c o i n i s d r o p p e d
o n t o t h e n a p k i n i n t h e center of y o u r left p a l m as y o u r right h a n d l i f t s its
c o m e r o v e r t o b r i n g i t t o t h e r e a r ( F i g u r e 2). T h e c o i n h a s n o w b e e n
loaded into the n a p k i n .
 T h i s i s a g o o d time t o t h r o w i n an o f f h a n d g e s t u r e w i t h y o u r r i g h t h a n d ,
since i t is n o w e m p t y ; earlier i t w o u l d not h a v e been appropriate, b u t
y o u k n e w that. G r a b t h e c o i n t h r o u g h t h e n a p k i n w i t h y o u r r i g h t h a n d
a n d l i f t i t . T h e left fingers j o i n t h e r i g h t as y o u p u s h the c o i n t h r o u g h the
n a p k i n t o r e v e a l i t ( F i g u r e 3). Y o u m u s t n o w p r e t e n d to t a k e t h e c o i n i n
y o u r r i g h t h a n d , b u t first y o u a c t u a l l y f o l d i t d o w n t o w a r d s y o u r s e l f
b e h i n d t h e n a p k i n , w h i c h i s h e l d b y y o u r l e f t fingers ( F i g u r e s 4 & 5).
P l a c e y o u r r i g h t h a n d i n t o y o u r r i g h t p a n t s p o c k e t t o l e a v e the s u p p o s e d
c o i n there w i t h o u t s h a k i n g the t w o c o i n s that are a l r e a d y t h e r e

Y o u r right h a n d returns to the n a p k i n , a n d both h a n d s p u s h the c o i n

t h r o u g h the p a p e r a g a i n to p r o d u c e the " s e c o n d " c o i n . R e p e a t the p r o c e s s
of s u p p o s e d l y r e m o v i n g t h e c o i n as i t i s f o l d e d d o w n b e h i n d t h e n a p k i n .
T h i s time w h e n y o u r r i g h t h a n d enters y o u r r i g h t p a n t s pocket, j i n g l e t h e
t w o coins together. This c o n f i r m s the belief that y o u really placed the
coins i n y o u r p o c k e t

A s y o u j i n g l e the c o i n s , c r u m p l e t h e n a p k i n w i t h y o u r left h a n d as i f t h e
t r i c k i s o v e r . H a n d t h e c r u m p l e d p a p e r b a l l a n d t h e c o n c e a l e d c o i n to a
s p e c t a t o r . A s k h e r i f s h e feels a n y t h i n g i n s i d e t h e n a p k i n , t o w h i c h she
s h o u l d r e p l y yes. H a v e her r e m o v e the " t h i r d " coin a n d h a n d i t to y o u .
Steve u s u a l l y e n d s b y t e l l i n g t h e s p e c t a t o r t o k e e p t h e n a p k i n a n d a d d s ,
" M a y b e y o u can use it sometime to p a y the toll." Remember, Steve lives
i n N e w Y o r k where almost every road is a toll r o a d

H o r n i n g i n : This routine is d i s a r m i n g l y simple, and I suggest not

c l u t t e r i n g it w i t h a lot of extra sleights that m a y detract f r o m its
directness. I feel t h e t h i r d p r o d u c t i o n i s e s p e c i a l l y s t r o n g i f y o u g i v e t h e
spectators a n i n d i c a t i o n t h a t t h e effect i s c o m p l e t e b e f o r e y o u p r o d u c e i t
Y o u m i g h t t r y setting t h e n a p k i n o n the table after i t i s c r u m p l e d , as l o n g
as y o u direct attention a w a y f r o m i t t o a v o i d p r e m a t u r e d i s c o v e r y o f t h e
concealed c o i n . N o w p r o d u c e the l a s t c o i n as a n afterthought.

A v a r i a t i o n , w h i c h I prefer, i s t o p a l m o u t o n e c o i n f r o m y o u r p o c k e t as
y o u are s u p p o s e d l y p l a c i n g t h e first o n e i n y o u r p o c k e t . B e c a r e f u l h e r e
n o t t o l e t t h e c o i n s " t a l k " as y o u p a l m o n e of t h e c o i n s . N o w , w h e n y o u
p r o d u c e t h e s e c o n d c o i n , y o u m a y o p e n l y t a k e i t o u t of t h e n a p k i n a n d
s i m p l y l e a v e t h e p a l m e d c o i n b e h i n d t h e n a p k i n t o b e h i d d e n as i t i s
c r u m p l e d ( F i g u r e 6). T h i s m e t h o d a l l o w s a cleaner l o o k i n g p r o d u c t i o n of
t h e s e c o n d c o i n . In a d d i t i o n , i f y o u w e r e t o s t a r t t h e effect w i t h , s a y a
h a l f d o l l a r a n d an E n g l i s h p e n n y i n y o u r pocket i n s t e a d of t w o h a l f
dollars, b y p a l m i n g out the English penny y o u could produce the English
p e n n y for the t h i r d p r o d u c t i o n , thus m a k i n g y o u r final p r o d u c t i o n
different f r o m t h e p r e v i o u s t w o . ^

Chris Kenner's ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ =
TWO CARD LOCATION
D H : I t h i n k y o u a r e g o i n g t o l i k e t h i s e f f e c t . It a p p e a r s t o r e q u i r e
u n c a n n y s k i l l o r t r u e m i n d r e a d i n g p o w e r s ; the effect i s far o u t of
p r o p o r t i o n to the s k i l l r e q u i r e d o n y o u r part. C h r i s i s a s m o o t h p e r f o r m e r
w h o u n d e r s t a n d s r o u t i n i n g . T h i s effect i s a n i n t r o d u c t i o n t o h i s m a g i c
a n d h i s w a y of t h i n k i n g .

C h r i s c u r r e n t l y h v e s n e a r I n d i a n a p o l i s , I n d i a n a a n d p e r f o r m s r e g u l a r l y at
I l l u s i o n s , a fine m a g i c c l u b l o c a t e d t h e r e . H e t h i n k s o f h i m s e l f as a
c a r d w o r k e r , a l t h o u g h m o s t p e o p l e s w e a r he's a c o i n w o r k e r . I k n o w that
h e e x c e l s at b o t h . A n d h e d o e s a g r e a t i m p r e s s i o n o f B i l l M u r r a y ' s
character f r o m C a d d y s h a c k ; just ask h i m to d o it for y o u . A l s o , y o u
s h o u l d see h i s M a t r i x / C h i n k - a - C h i n k / 4 C o i n A s s e m b l y . Y o u w o u l d
s w e a r that t h e c o i n s m o v e b y t h e m s e l v e s w h i l e h i s h a n d s j u s t h o v e r o v e r
them.

F o r t h i s l i t t l e g e m , g o get y o u r d e c k o f c a r d s a n d r e m o v e a l l t h e s p a d e s .
A r r a n g e t h e s e c a r d s i n o r d e r f r o m l o w e s t (ace i n t h i s c a s e ) t o h i g h e s t
( F i g u r e 1 o n t h e p r e v i o u s page). P l a c e t h i s t h i r t e e n c a r d s e t u p face d o w n
o n t o p o f t h e r e m a i n d e r o f t h e face d o w n d e c k (the ace s h o u l d b e t h e t o p
c a r d o f t h e deck). Y o u are n o w r e a d y t o b e g i n .

Perform any shuffles a n d / o r cuts that leave the thirteen card setup
i n t a c t S p r e a d t h e d e c k t o h a v e a c a r d selected, b u t k e e p t h e t o p c a r d s i n
a t i g h t e r g r o u p a n d s l i g h t l y a w a y f r o m t h e spectator t o a v o i d h a v i n g o n e
o f t h e s p a d e s selected ( F i g u r e 2). O n c e t h e c a r d i s selected, c u t t h e d e c k
a n d h o l d a b r e a k a b o v e t h e s e t u p ( F i g u r e 3). A f t e r t h e s p e c t a t o r h a s
m e m o r i z e d h i s selection, s p r e a d t h e c a r d s t o h a v e i t r e t u r n e d . M a k e s u r e
he puts the card u n d e r the break a n d i n the setup. Square the deck a n d
p l a c e i t o n t h e table to i n d i c a t e t h a t e v e r y t h i n g i s fair.

E x p l a i n t h a t y o u w i l l l o c a t e t h e c a r d as t h e s p e c t a t o r c o n c e n t r a t e s o n i t
L o o k t h r o u g h the deck, h o l d i n g the cards w i t h the backs t o w a r d the
spectator, a n d u p j o g t h e spectator's c a r d (easy, i f s t h e " o d d " c a r d i n t h e
s e t u p ) . C o n t i n u e t o s p r e a d f i v e c a r d s p a s t t h e s e t u p a n d c u t t h e d e c k at
t h i s p o i n t ( F i g u r e 4). T u r n t h e d e c k f a c e d o w n as y o u w i t h d r a w t h e
selected c a r d a n d r e v e a l i t . O n t o p o f t h e d e c k y o u s h o u l d n o w h a v e five
indifferent cards f o l l o w e d b y the thirteen card spade setup.

O f f e r to repeat the trick a n d h a n d the deck to the spectator, i n s t r u c t i n g

h i m to d e a l t h e c a r d s s l o w l y o n t o t h e t a b l e . A f t e r h e h a s d e a l t t h r e e o r
f o u r c a r d s , tell h i m t o s t o p w h e n e v e r h e l i k e s . H e w i l l u n d o u b t i y s t o p o n
o n e o f t h e c a r d s i n t h e s e t u p . I n o r d e r t o k n o w t h e c a r d at w h i c h t h e
s p e c t a t o r s t o p p e d , c o u n t t o y o u r s e l f "l-2-3-4-5-ace-2-3-4-etc." w h i l e h e i s
d e a l i n g u n t i l h e s t o p s . F o r i n s t a n c e , i f h e s t o p s at t h e c o u n t o f 7, t h e c a r d
is t h e s e v e n o f s p a d e s .

H a v e t h e spectator l o o k at t h e s t o p p e d at c a r d , r e m e m b e r i t , a n d r e t u r n i t
to t h e d e c k a n y w h e r e h e l i k e s . Y o u m a y n o w let t h e spectator s h u f f l e t h e
deck to h i s heart's content, since y o u a l r e a d y k n o w h i s c a r d . Y o u can
n o w r e v e a l h i s c a r d i n a n y m y s t i c a l w a y that y o u tike.

H o r n i n g i n : T h e setup gives y o u i n f o r m a t i o n that y o u s e e m i n g l y c o u l d

not p o s s i b l y k n o w , a n d that m a k e s the trick strong. O n the other h a n d ,
the trick is not w i t h o u t p r o b l e m s . T w o specifically come to m i n d . O n e is
the n a t u r a l s u s p i c i o n b y t h e spectator, I believe, o f m a r k e d cards. U s i n g a
b o r r o w e d d e c k w o u l d b e f i n e , b u t y o u w o u l d h a v e t o set i t u p d u r i n g
some other routine. P r o b l e m n u m b e r t w o involves controlling the
spectator t o s t o p d e a l i n g before t h e e n d of t h e setup. T h i s c a n b e d o n e b y
s o m e g e n e r a l , b u t c l e v e r , c o a x i n g ("stop s o m e t i m e t o d a y " o r " t a k e y o u r
time, b u t h u r r y u p " ) .

One final thought that is k i n d of interesting. Y o u k n o w i n advance the

s u i t o f the s e c o n d selected c a r d . T h i s a l l o w y o u to p r e p a r e m u l t i p l e " o u t s "
or p a r t o f a p r e d i c t i o n i n a d v a n c e , s u c h as, " T h e c a r d w i l l b e t h e ( f i l l i n
t h e b l a n k ) o f s p a d e s " w i t h t h e b l a n k filled i n u s i n g a n a i l w r i t e r . T h e r e
are d e f i n i t e p o s s i b i l i t i e s to be e x p l o r e d . ^
 FROM THE LABYRINTH
M L : W e l l , h e r e i t i s , o u r first i s s u e t h a t a c t u a l l y r e q u i r e d a f i n a n c i a l
c o m m i t m e n t on y o u r part. D a n a n d I w o u l d l i k e to t h a n k y o u for

THE MINOTAUR i n v e s t i n g y o u r h a r d earned d o l l a r s so w i s e l y . H o w e v e r , i n t h e l o n g r u n i t

w i l l t a k e m o r e t h a n m o n e y to k e e p t h i s fine p u b l i c a t i o n g o i n g . R u l i n g o u t
'Half Bull, Half Magic" d i v i n e intervention, w e unabashedly solicit y o u r contributions for future
M a r v Leventhal p u b l i c a t i o n (see s i d e panel).
Editor-in-Chief
S h o u l d y o u s u b m i t to s u b m i t t i n g a s u b m i s s i o n , a n d s h o u l d w e s u b m i t t o
Dan Harlan s y n t h e s i z i n g o n e of y o u r s u b m i s s i o n s i n a s u b s e q u e n t i s s u e , y o u w i l l be
C r e a t i v e G e n i u s & Illustrator
s u b s t a n t i a l l y s a t i s f i e d . Y o u w i l l get t o see y o u r n a m e i n p r i n t , a n d (as i f
t h a t w a s n o t e n o u g h ) y o u w i l l get an a d d i t i o n a l i s s u e t a c k e d o n t o t h e
Subscriptions: T H E M I N O T A U R is
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M I N O T A U R and mail it to: 77ie Phoenix. C a l l i n g u p o n m y v a s t k n o w l e d g e of m y t h o l o g i c a l characters
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THE MINOTAUR o n l y other o n e I c o u l d r e a d i l y t h i n k of, t h e M i n o t a u r . D a n l i k e d i t , a n d s o
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B u t w a i t If w e c o u l d c o m e u p w i t h a n a m e w e l i k e d s o w e l l o n t h e first
S u b m i s s i o n s : Y o u r editorial submissions
try, just t h i n k w h a t w e c o u l d c o m e u p w i t h if w e t h o u g h t about it for
(tricks, bits of business, essays,
awhile. Well, time passed and D a n and I came up w i t h z i p , nada,
comments, anecdotes, fan m a i l , etc., and
m a g i c a l r a m b l i n g s i n general) are not nothing, zero - all stupid names for any m a g a z i n e A l t h o u g h w e c o u l d
only welcome, but encouraged i n order to not c o m e u p w i t h a n y t h i n g better, o u r f r i e n d s h a d s o m e ideas for us.
assure the f u t u r e v i a b i l i t y o f t h i s fine A f t e r l o n g h o u r s spent tabulating their suggestions, I n o w present to y o u
p u b l i c a t i o n . Y o u r s u b m i s s i o n s w i l l be f r o m t h e h o m e office l o c a t e d i n B r e c k s v i l l e , O h i o :
returned i f a self-addressed, stamped
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Permissions: N o part of this publications

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m a y be reproduced, i n any form, by any
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m e a n s , be i t e l e c t r o n i c , m e c h a n i c a l ,
8. M i s t e r Rex Shuns
photocopying, or even a pencil w i t h o u t
fiie written permission of D a n and M a r v . 7. Ethereal Evolutions
In a d d i t i o n , t h e m a n u f a c t u r i n g a n d 6. W a n d Wanderings
commercial rights for all items contained 5. Magicians Magazine
herein are reserved by their contributors 4. Aladdin's L a m p
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for a d v e r t i s i n g i n f o r m a t i o n . Please be A n d t h e #1 s u g g e s t i o n o f o u r f r i e n d s i s , t h e e n v e l o p e p l e a s e - T h e B u n n y
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THE M I N O T A U R
Copyright 1989
by M a r v i n J. Leventhal N e e d l e s s t o s a y , at t h i s p o i n t t h e n a m e T H E M I N O T A U R w a s s o u n d i n g
& Daniel D . Harlan better t h a n ever. In fact, D a n a n d I w o u l d l i k e t o t h a n k o u r f r i e n d s w h o
A l l Rights Reserved c o n t r i b u t e d to t h e fist f o r r e m o v i n g a n y d o u b t w e m i g h t h a v e h a d a b o u t
Printed i n the U.S.A. n a m i n g o u r m a g a z i n e T H E M I N O T A U R . A n d y o u , the subscriber (you
2/89-2 are a s u b s c r i b e r , aren't y o u ? ) are u l t i m a t e l y the b e n e f i c i a r y . I m a g i n e
h a v i n g to e x p l a i n the contents of an envelope h a v i n g "The B u n n y H o p
E x p r e s s " s t a m p e d i n t h e u p p e r left h a n d c o r n e r . *
 THE
INIITAUR
'HALF BULL, H A L F MAMIE"
N
o.

Copyright 1989 by Marvin J. L even thai & Daniel D . Harlan M a y 1989 / $5.00

Mark Sicher's
A PERFECT MA TCH D H : M a r k Sicher, a y o u n g m a g i c i a n f r o m N e w Y o r k , has been featured
i n 77ie Linking Ring Tanner's Magic Manuscript, Top Hat, Apocalypse,
a n d n o w here. M a r k i s a n excellent p e r f o r m e r a n d a creative t h i n k e r w h o
entertains (and w i n s awards) w i t h a toothbrush and a bottle of
m o u t h w a s h . H e has k i n d l y g i v e n T H E M I N O T A U R m i s masterpiece of
intimate close-up magic. The t h i n k i n g behind this torn and restored
m a t c h effect d e m o n s t r a t e s w h y M a r k r e c e i v e d f i r s t p l a c e f o r t h e j u n i o r
d i v i s i o n o f c l o s e - u p m a g i c at t h e 1 9 8 8 I n t e r n a t i o n a l B r o t h e r h o o d o f
M a g i c i a n s N a t i o n a l C o n v e n t i o n a n d f o r c l o s e - u p m a g i c at t h e C o l u m b u s ,
O h i o M a g i - F e s t . H e a l s o t o o k a f i r s t p l a c e at T a n n e n ' s M a g i c C a m p f o r
a d v a n c e d c l o s e - u p i n 1987. A f t e r r e a d i n g t h e f o l l o w i n g , M a r v a n d I a r e
s u r e y o u w i l l l o o k f o r w a r d t o s e e i n g m o r e o f h i s m a t e r i a l here.

M a r k created this routine because h e w a n t e d to p e r f o r m S l y d i m ' s t o r n

and restored cigarette effect w i t h o u t h a v i n g to s m o k e . T h i s v e r s i o n
accomplishes similar results u s i n g a match, and it can be performed
i m p r o m p t u , as H I d e s c r i b e later. R i g h t n o w , get y o u r s e l f a b o o k o f p a p e r
m a t c h e s , a n d let's get started b y l e a r n i n g t h e p a l m p o s i t i o n . It's p e r f e c t l y
natural a n d w o r k s extremely w e l l w i t h paper matches.

Tear o u t a m a t c h a n d p a l m i t i n t h e f o l l o w i n g w a y . H o l d y o u r right h a n d
p a l m u p w i t h the fingers straight. Place the m a t c h a l o n g the center of
y o u r m i d d l e finger w i t h the h e a d of the m a t c h p o i n t i n g t o w a r d y o u r
p a l m ( F i g u r e 1). Y o u w i l l f i n d t h a t i f y o u n a t u r a l l y c u r l y o u r f i n g e r s , t h e
m a t c h w i l l b e s e c u r e l y h e l d i n p l a c e at t h e o u t e r j o i n t a n d j u s t a b o v e t h e
b a s e o f y o u r m i d d l e f i n g e r . It o n l y t a k e s a s e c o n d t o get t h e m a t c h i n t o
the correct p o s i t i o n . Y o u s h o u l d be able t o m o v e y o u r fingers a r o u n d i n a
n a t u r a l , r e l a x e d m a n n e r , effectively s h o w i n g y o u h a n d t o b e " e m p t y . "

To perform, pick u p the match book (with matches identical to the

p a l m e d one), o p e n i t , a n d o p e n l y rip o u t a m a t c h w i t h y o u r right t h u m b

1 4

N 6
S
8
1
10
D Spectator C u t s t h e K i n g s

E 12
 a n d m i d d l e finger. T h i s w i l l h e l p m a k e y o u r c u r v e d m i d d l e finger l o o k
more natural and divert any possible suspicion (although, if your
a u d i e n c e i s s u s p i c i o u s at t h i s p o i n t , y o u p r o b a b l y either n e e d t o p r a c t i c e
the p a l m s o m e m o r e o r get a n e w audience).

Place the m a t c h b o o k onto the spectator's p a l m u p r i g h t h a n d . T u r n the

v i s i b l e m a t c h a r o u n d w i t h t h e h e l p o f y o u r l e f t h a n d , so that i t i s h e l d at
t h e b o t t o m , o r t a i l , b e t w e e n y o u right t h u m b a n d m i d d l e finger ( F i g u r e 2
o n the p r e v i o u s page). Y o u r m i d d l e finger i s n a t u r a l l y c u r v e d a n d y o u r
fingers c a n b e s p r e a d w i t h o u t e x p o s i n g t h e h i d d e n m a t c h . In fact, y o u
m a y e v e n w a n t t o t u r n y o u r right h a n d s o t h a t t h e h e a d o f t h e v i s i b l e
m a t c h a n d y o u r p a l m b o t h face t o w a r d the spectator. This w i l l a l l o w
y o u r " e n t i r e " h a n d to b e s e e n e m p t y ( k i n d o f t h e R a m s e y s u b t l e t y d o n e
w i t h a m a t c h ) . Y o u c a n a l s o r o t a t e y o u r right h a n d s o t h a t t h e h e a d o f
the v i s i b l e m a t c h a n d y o u r p a l m face t h e c e i l i n g w i t h o u t e x p o s i n g i t .

G e s t u r e i n a n a t u r a l w a y as y o u s a y , T d l i k e t o s h o w y o u m y f a v o r i t e
i l l u s i o n . I l i k e i t so m u c h , b e c a u s e i t l o o k s j u s t as r e a l t o m e as i t d o e s t o
y o u . " T e a r t h e v i s i b l e m a t c h i n h a l f ( F i g u r e 3) a n d s a y , " W o u l d y o u
please h o l d out y o u r h a n d ? " Place b o t h pieces o n t o the spectator's left
p a l m . G e s t u r e b y t u r n i n g b o t h y o u r h a n d s p a l m u p ( b e i n g c a r e f u l n o t to
f l a s h the h i d d e n m a t c h ) a n d ask, " D o e s n ' t t h a t l o o k c o n v i n c i n g ? It l o o k s
just l i k e T v e t o r n t h e m a t c h i n half, doesn't i t ? "

P i c k u p the t a i l piece w i t h y o u r left h a n d a n d p l a c e i t b e t w e e n y o u r right

t h u m b a n d m i d d l e fingertip i n the s a m e p o s i t i o n that y o u h a d t h e w h o l e
m a t c h b e f o r e y o u t o r e i t . P i c k u p t h e h e a d p i e c e w i t h y o u r left h a n d a n d
h o l d i t b e t w e e n y o u r l e f t t h u m b a n d m i d d l e fingertip w i t h t h e h e a d
s h o w i n g , so that both y o u r h a n d s h o l d their respective halves i n exactly
tiie s a m e p o s i t i o n . H o l d y o u r h a n d s , p a l m s f a c i n g each other, then rotate
t h e m u p a b i t ( F i g u r e 4). R e m e m b e r , t h e t w o sides o f m o s t p a p e r m a t c h e s
are different c o l o r s , u s u a l l y w h i t e a n d g r a y . M a k e s u r e y o u h o l d t h e t w o
h a l v e s a n d the h i d d e n m a t c h so that a l l t h e sides face t h e s a m e w a y .

N e x t is the o n l y " m o v e " i n the entire routine, w h i c h is s i m p l e i f the

c o r r e c t m i s d i r e c t i o n i s p r o v i d e d . B a s i c a l l y , i t ' s t h i s — m o v e y o u r right
t h u m b o f f t h e h a l f p i e c e i n y o u r right h a n d , a l l o w i n g i t t o f a l l , a n d p l a c e
the t i p o f y o u r right t h u m b o n t o the m i d d l e o f t h e p a l m e d m a t c h ( F i g u r e
5). N o w s t r a i g h t e n y o u r right m i d d l e finger, k e e p i n g t h e m a t c h i n p l a c e
w i t h y o u r t h u m b , and s l i d e y o u r t h u m b f o r w a r d , s l i d i n g the m a t c h
f o r w a r d w i t h it. Stop w h e n the t i p of y o u r t h u m b reaches y o u r m i d d l e
fingertip. It n o w l o o k s l i k e y o u ' r e h o l d i n g t h e t a i l h a l f o f t h e t o r n m a t c h
a g a i n . Y o u r t h u m b a n d m i d d l e finger h i d e the h e a d o f the w h o l e m a t c h .

T h a t ' s t h e m o v e . It s h o u l d t a k e b u t a s p l i t s e c o n d , a f l e e t i n g m o m e n t , a
m e r e f r a c t i o n o f a h e a r t b e a t , o r s o m e t h i n g t o t h a t effect. T o s p e e d i t u p ,
d o n ' t t h i n k a b o u t d r o p p i n g the h a l f m a t c h ; i t w i l l d r o p a u t o m a t i c a l l y as
y o u r t h u m b m o v e s t o t h e w h o l e m a t c h . If seated, t h e h a l f m a t c h c a n be
easily l a p p e d , but it m a y also be d r o p p e d w h i l e standing, since it makes
5
no noise. To cover this switch, perform the f o l l o w i n g actions w i t h
a c c o m p a n y i n g patter.

" P e o p l e t e l l m e t h a t m a t c h e s are m a d e i n h e a v e n , b u t t h e s e w e r e n o t It
says on the m a t c h b o o k that they w e r e m a d e i n C h i c a g o " (substitute the
correct l o c a t i o n of the m a n u f a c t u r e r ) . W h e n y o u say the w o r d
" m a t c h b o o k , " p o i n t t o t h e m a t c h b o o k o n t h e spectator's right p a l m w i t h
t h e h e a d p i e c e i n y o u r l e f t h a n d . A s y o u r l e f t h a n d m o v e s , y o u r right
h a n d drops d o w n slightly out of the w a y a n d performs the switch. Don't
o v e r d o y o u r p o i n t i n g ; i t i s j u s t a n a t u r a l g e s t u r e as y o u m e n t i o n t h e
matchbook. B y the t i m e y o u say " C h i c a g o " y o u s h o u l d be done w i t h the
m o v e , a n d b o m y o u r h a n d s s h o u l d be bade i n t h e i r p r e v i o u s p o s i t i o n s .

F o r f u r t h e r m i s d i r e c t i o n as y o u p a t t e r , l o o k d i r e c t l y i n t o t h e s p e c t a t o r ' s
eyes. A l t h o u g h y o u m a y b e t e m p t e d t o l o o k at y o u r p o i n t i n g l e f t h a n d ,
d o n ' t R e m e m b e r , y o u are t a l k i n g t o a p e r s o n , n o t y o u r h a n d . T h e l i t t l e
p o i n t i n g w i l l go unnoticed, because everyone talks w i t h their h a n d s —
n o t o v e r w h e l m i n g m o v e m e n t s , b u t i n c i d e n t a l gestures. It s h o u l d a p p e a r
as i f y o u d o n ' t e v e n r e a l i z e y o u are m o v i n g y o u r h a n d s . T h i s r e q u i r e s
s o m e p r a c t i c e u n t i l i t b e c o m e s n a t u r a l , a n d y o u r h a n d m o v e m e n t s are
o v e r l o o k e d b y t h e spectator.

Y o u ' v e j u s t c o m p l e t e d t h e s w i t c h . A t t h i s p o i n t , ask t h e s p e c t a t o r t o g i v e
the h a l f m a t c h e s names, one m a l e a n d one female (some n a m e s can be
q u i t e a m u s i n g , a d d i n g t o the general entertainment). R a c e t h e h e a d p i e c e
at a r i g h t a n g l e b e l o w t h e t a i l " p i e c e " w i t h t h e h e a d p o i n t i n g d o w n w a r d
( F i g u r e 6). T u r n y o u r r i g h t h a n d a r o u n d t o s h o w b o t h p i e c e s f r o m a l l
angles. S t o p w i t h y o u r r i g h t p a l m f a c i n g left i n i t s o r i g i n a l p o s i t i o n .

W i t h y o u r l e f t i n d e x f i n g e r , p u s h t h e h e a d p i e c e t o t h e right a n d u p
s l i g h t l y . A g a i n s h o w a l l angles. T h e n p u s h i t a little m o r e Y o u are s l o w l y
s t r a i g h t e n i n g o u t t h e t w o p i e c e s tittle b y l i t t l e E a c h t i m e y o u m o v e t h e
h e a d piece, s h o w a l l a n g l e s t o t h e a u d i e n c e F i n a l l y , w h e n t h e h e a d p i e c e
is parallel b e l o w the w h o l e m a t c h , p i n c h the h e a d piece between y o u r
right t h u m b a n d m i d d l e f i n g e r ( F i g u r e 7). N o w p u s h t h e t a i l e n d o f t h e
w h o l e m a t c h d o w n i n o r d e r t o rotate i t t o a v e r t i c a l p o s i t i o n .

T h e h e a d h a l f w i l l n o w b e d i s p o s e d of u s i n g t h e f o l l o w i n g m i s d i r e c t i o n
a n d p a t t e r . F i r s t t h e p a t t e r : ' W o u l d y o u p l e a s e h o l d y o u r right fingers...,
w h o o p s ! T h a t ' s m y l e f t h a n d . T h e r e W i t h y o u r R I G H T fingers, p l e a s e
p i n c h t h e m a t c h right o v e r h e r e " N o w t h e a c t i o n s : A s y o u s a y , " . . . h o l d
y o u r right fingers...," p u t y o u r L E F T t h u m b a n d m i d d l e finger t o g e t h e r as
if p i n c h i n g t h e air. H o l d y o u r left h a n d a b o u t c h i n l e v e l . T h e n a p p a r e n t l y
r e a l i z e t h a t y o u s a i d y o u r r i g h t fingers a n d s a y , ' W h o o p s ! " T r a n s f e r t h e
w h o l e m a t c h f r o m y o u r right h a n d t o y o u r l e f t h a n d , p i n c h i n g i t at i t s
m i d d l e w i t h y o u r l e f t t h u m b a n d m i d d l e finger s u p p o s e d l y t o c o r r e c t
y o u r s e l f . R e m e m b e r , t h e s p e c t a t o r s t i l l t h i n k s t h e r e a r e t w o pieces, s o be
c a r e f u l as y o u m a k e t h e transfer.

S a y , " T h e r e W i t h y o u r R I G H T fingers...," as y o u r right h a n d , r e t a i n i n g

t h e h a l f p i e c e , p i n c h e s t h e a i r as y o u d i d w i t h y o u r l e f t h a n d . Y o u a r e
h i d i n g t h e p i e c e b e t w e e n y o u r right t h u m b a n d m i d d l e finger i n a l o g i c a l
m a n n e r b y i n d i c a t i n g w h a t y o u w a n t the spectator to do. C o n t i n u e
p a t t e r i n g , "...please p i n c h . . . " as y o u r e l a x a n d l o w e r y o u r right h a n d a n d
a r m . M o v e y o u r l e f t h a n d t o w a r d t h e s p e c t a t o r as y o u r right h a n d d r o p s
t h e h a l f p i e c e o n t h e f l o o r . B r i n g y o u r right h a n d b a c k u p a n d p o i n t t o
the t a i l of t h e w h o l e m a t c h as y o u s a y "...the m a t c h right o v e r h e r e "

O n c e t h e s p e c t a t o r h a s t h e t a i l s e c u r e l y p i n c h e d ( F i g u r e 8), a l l t h a t
r e m a i n s i s to r e s t o r e the m a t c h . Just say, " N o w , J o h n a n d M a r y (or
w h a t e v e r t h e s p e c t a t o r n a m e d t h e t w o p i e c e s ) are, p a r d o n t h e p u n , ...a
p e r f e c t m a t c h ! " S l o w l y s l i d e y o u r l e f t t h u m b a n d m i d d l e finger o f f t h e
whole match and show both your hands empty.

H o r n i n g i n : I t h i n k it i s critical to the effectiveness of this r o u t i n e to e n d

a b s o l u t e l y c l e a n , a n d start a p p a r e n t l y c l e a n , t o o . M a r k d o e s a g o o d j o b
c o v e r i n g the p a l m i n g a n d c l e a n - u p of the pieces, but I l i k e to start
 i m p r o m p t u , a n d I d i s p o s e o f t h e second piece differently.

To begin w i t h o u t preparation, open the matchbook and p u l l d o w n one

m a t c h w i t h t h e t i p o f y o u r right m i d d l e f i n g e r a n d a s e c o n d o n e b e s i d e i t
w i t h t h e t i p o f y o u r right i n d e x finger. S l i d e y o u r m i d d l e finger a l m o s t t o
t h e b a s e o f i t s m a t c h , w h i l e y o u r i n d e x finger r e m a i n s near t h e t o p o f its
m a t c h ( f i g u r e 9 o n t h e p r e v i o u s page). P l a c e y o u r right t h u m b o v e r b o t h
m a t c h e s a n d p u l l t h e m o u t t o g e t h e r ( f i g u r e 10). W i t h o u t p l a c i n g t h e
m a t c h b o o k d o w n , use y o u r left t h u m b to p u s h the h i d d e n m a t c h i n t o
p a l m p o s i t i o n ( F i g u r e 11). N o w t a k e t h e o t h e r m a t c h a n d r o t a t e i t ,
p l a c i n g t h e t a i l e n d b e t w e e n y o u r r i g h t t h u m b a n d m i d d l e finger. It l o o k s
l i k e y o u t o r e o u t a m a t c h a n d t u r n e d i t a r o u n d . A t t h i s p o i n t , there i s n o
r e a s o n f o r t h e spectator t o a s s u m e a n y t h i n g d i f f e r e n t l y .

I p r o c e e d as M a r k does u n t i l I h a v e a w h o l e m a t c h i n m y r i g h t h a n d a n d
a h a l f p i e c e i n m y l e f t . I p l a c e t h e h a l f p i e c e at a right a n g l e a b o v e t h e
right h a n d ' s p i e c e , h e a d p o i n t i n g u p w a r d , o p p o s i t e o f t h e p o s i t i o n
d e p i c t e d i n figure 6 o n t h e p r e v i o u s p a g e . N o w I u s e b o t h m y l e f t i n d e x
a n d m i d d l e finger t o p u s h t h e m a t c h h e a d o v e r t o s t r a i g h t e n i t o u t . J u s t
as t h e m a t c h i s a l m o s t s t r a i g h t , I d i p i t b e t w e e n t h o s e t w o fingers. I u s e
m y left t h u m b t o p u s h t h e t a i l o f t h e w h o l e m a t c h d o w n w a r d s l i g h t l y t o
expose the h e a d , so that e v e r y t h i n g l o o k s correct a n d n o one suspects
that t h e h a l f p i e c e h a s been stolen a w a y . P r o c e e d i n g w i t h M a r k ' s patter, I
s i m p l y u s e m y l e f t h a n d to d e m o n s t r a t e t h e p i n c h i n g a c t i o n . I've c h o s e n
t h i s m e t h o d to a v o i d s w i t c h i n g t h e "pieces" f r o m o n e h a n d t o t h e other.

E t h e r w a y , t h i s effect i s q u i t e s t a r t l i n g a n d v e r y i m p r e s s i v e , i f p r e s e n t e d
c o r r e c t l y . It i s s o d i r e c t a n d s i m p l e t h a t i t l e a v e s n o l o o s e e n d s f o r t h e
a u d i e n c e to trace, a n d that m a k e s i t c o m p l e t e l y m y s t i f y i n g . ^

Troy Hooser's ^ ^ ^ ^
COUNTER POINT
M L : D a n a n d I t h o u g h t , as a c h a n g e o f p a c e , w e w o u l d r u n a n e w f a l s e
c o u n t w i t h c o i n s i n s t e a d of a n e w false c o u n t w i t h c a r d s . O f course w h e n
w e h a d this brilliant idea, w e d i d not h a v e a n y n e w false counts i n o u r
p o s s e s s i o n , n o less o n e w i t h c o i n s . S o m u c h f o r o u r b r i l l i a n t i d e a s . T h e n ,
as i f b y fate, T r o y c a m e a l o n g a n d t o l d m e m a t h e h a d a n e w false c o i n
c o u n t h e w a n t e d to s h o w m e . N o t w a n t i n g to be i m p o l i t e , I o b l i g e d h i m .
H i d i n g m y enthusiasm, I watched w i t h interest Afterward I commented
that I w o u l d l i k e t o u s e i t i n T H E M I N O T A U R . T r o y t h e n o b l i g e d m e b y
a l l o w i n g D a n a n d m e to u s e i t here.

T h i s i s a u t i l i t y m o v e that a l l o w s y o u to c o u n t t w o coins as three. A s y o u

c o u n t each c o i n , y o u p o i n t to i t (thus a c c o u n t i n g f o r the n a m e of the
count) a n d t a p i t w i t h y o u r left i n d e x finger. T o b e g i n , h o l d t w o h a l f
d o l l a r s o r t w o E n g l i s h p e n n i e s , f o r e x a m p l e , i n a finger p a l m i n y o u r
right h a n d . If y o u l i k e , y o u c a n d i s p l a y t h e m b r i e f l y t o y o u r spectators i n
y o u r p a l m u p right h a n d . J u s t d o n ' t g i v e t h e m e n o u g h t i m e to see t h a t
y o u h a v e t w o a n d n o t t h r e e c o i n s . N o w , t u r n y o u r right h a n d t o w a r d
y o u r s e l f a n d r a i s e i t a b o u t chest h i g h . In p r e p a r a t i o n f o r t h e c o u n t , adjust
t h e p o s i t i o n o f t h e c o i n s s o t h a t t h e y a r e h e l d i n a h i g h finger p a l m b y
y o u r right i n d e x a n d m i d d l e f i n g e r s . A l s o , c u r l i n y o u r right ring a n d
l i t t l e fingers to f o r m a l o o s e fist ( f i g u r e 1).

T o p e r f o r m t h e c o u n t , p l a c e y o u r right t h u m b o n t h e c o i n s a n d s l i d e o n e
of t h e m f o r w a r d u n t i l t h e b o t t o m e d g e o f t h e c o i n i s h e l d b y t h e s i d e o f
y o u r r i g h t i n d e x f i n g e r a n d the tip of yotrr r i g h t t h u m b . T h i s d i s p l a y s t h e
f i r s t c o i n ( F i g u r e 2). A s y o u d o t h i s , h a v e y o u r l e f t h a n d f o r m e d i n t o a
f i s t w i t h i t s i n d e x f i n g e r p o i n t i n g t o t h e r i g h t . N o w , j u s t as t h e c o i n
c o m e s i n t o v i e w , s w i n g y o u r left h a n d u p at t h e w r i s t to p o i n t to a n d t a p
t h e f r o n t of t h e d i s p l a y e d c o i n w i t h t h e t i p o f y o u r l e f t i n d e x f i n g e r
( F i g u r e 3). S a y s o m e t h i n g c a t c h y tike, " C o i n n u m b e r o n e , " as y o u t a p t h e
f i r s t c o i n . In o r d e r f o r t h e c o u n t t o e f f e c t i v e , a n d f o r t h e c o u n t o f a l l
"three" c o i n s t o l o o k i d e n t i c a l , t h e c o i n s h o u l d b e t a p p e d w i t h y o u r l e f t
i n d e x finger s i m u l t a n e o u s l y as t h e c o i n c o m e s i n t o t h e spectators' v i e w .

N o w c u p y o u r left h a n d b e l o w y o u r right h a n d a n d p u s h the coin over

the top of y o u r r i g h t fist w i t h y o u r r i g h t t h u m b , t h u s a l l o w i n g t h e c o i n t o
f a l l i n t o y o u r w a i t i n g left h a n d . I m m e d i a t e l y , d o s e y o u left h a n d a r o u n d
the c o i n a n d t u r n i t p a l m d o w n . A l l "three" coins w i l l appear to be
counted similarly. C o n t i n u e b y counting the second coin i n the same
m a n n e r as y o u c o u n t e d t h e f i r s t c o i n . M a k e s u r e y o u a l l o w t h e s e c o n d
c o i n to h i t t h e first c o i n w h e n i t i s d r o p p e d i n t o y o u r w a i t i n g left h a n d .

A f t e r the second coin is counted, secretly adjust its p o s i t i o n so that it

r e s t s at t h e b a s e o f y o u r l e f t i n d e x f i n g e r . N o w b e n d i n y o u r l e f t i n d e x
finger s o that i t s t i p rests o n the center of the c o i n ( F i g u r e 4). I f s as i f y o u
are b a l a n c i n g t h e c o i n o n t h e t i p of y o u r l e f t i n d e x f i n g e r . T h i s s h o u l d
h a p p e n as y o u d o s e y o u r l e f t h a n d a r o u n d t h e c o i n a n d t u r n i t p a l m
d o w n . Y o u are n o w r e a d y t o c o u n t t h e " t h i r d " c o i n .

M o v e y o u r r i g h t t h u m b a n d fingers as i f y o u are p u s h i n g f o r w a r d a t h i r d
c o i n . T h e n , as y o u s w i n g y o u r l e f t h a n d u p t o p o i n t t o a n d t a p t h e
n o n e x i s t e n t t h i r d c o i n , q u i c k l y s t r a i g h t e n o u t y o u r left i n d e x f i n g e r w i t h
t h e c o i n r e s t i n g o n i t s tip a n d , w i t h t h e h e l p o f y o u r left t h u m b , p l a c e i t
i n t h e s a m e p o s i t i o n i n w h i c h t h e f i r s t t w o c o i n s w e r e d i s p l a y e d . If t h e
timing i s r i g h t , i t s h o u l d l o o k as i f y o u m e r d y p u s h e d t h e t h i r d c o i n o u t
of y o u r r i g h t h a n d a n d t a p p e d i t w i t h y o u left i n d e x f i n g e r t o c o u n t c o i n
n u m b e r three. D r o p t h e c o i n i n t o y o u r w a i t i n g l e f t h a n d t o c o m p l e t e t h e
count, again a l l o w i n g i t to h i t the coin already there. Spectators s h o u l d
be c o n v i n c e d t h a t t h e y h a v e b o t h seen a n d h e a r d three coins c o u n t e d .

H o m i n g i n : I h a v e d e s c r i b e d t h e c o u n t p r e t t y m u c h as T r o y d o e s i t T h e
toughest p a r t for m e i s g e t t i n g the s e c o n d c o i n b a l a n c e d o n t h e tip of m y
left i n d e x f i n g e r i n p r e p a r a t i o n f o r d i s p l a y i n g i t as t h e " t h i r d " c o i n . H e r e
are t w o w a y s to a c c o m p l i s h t h i s .

A f t e r d r o p p i n g the first coin i n t o y o u r w a i t i n g left h a n d , jiggle y o u r left

h a n d to m o v e t h e c o i n t o a p o s i t i o n at t h e b a s e of y o u r left r i n g a n d l i t t l e
fingers. T h e n , w h e n y o u d r o p the second c o i n i n t o y o u r left h a n d , h o l d
the first coin i n place w i t h y o u r left little finger (Figure 5 o n the next
page). T h i s m a k e s i t easier to adjust t h e p o s i t i o n of the s e c o n d c o i n to t h e
b a s e of y o u r left i n d e x f i n g e r w h e r e i t w i l l b a l a n c e o n t h e tip o f y o u r left
i n d e x fingeT. I n f a c t , i f y o u r l e f t h a n d i s i n a l o o s e e n o u g h f i s t , t h e
m o m e n t u m of t u r n i n g y o u r left h a n d p a l m d o w n w i l l h d p shift the
s e c o n d c o i n t o a l m o s t t h e correct p o s i t i o n . It a l s o separates t h e t w o c o i n s
e n o u g h so t h a t t h e y d o n o t " t a l k " as y o u d i s p l a y t h e " t h i r d " c o i n .

H e r e ' s t h e s e c o n d w a y . H a v e t h e first c o i n i n finger p a l m p o s i t i o n i n y o u r

l e f t h a n d as y o u d r o p t h e s e c o n d c o i n i n t o y o u r l e f t h a n d . D r o p t h e
s e c o n d c o i n s o t h a t i t l a n d s d i r e c t l y o n top of t h e first c o i n , t h a t i s , b o t h
coins should w i n d u p i n finger p a l m position. N o w , w i t h y o u r left
t h u m b , s l i d e the t o p c o i n to t h e tip of y o u r left i n d e x finger. A s y o u form
 y o u r left h a n d i n t o a loose fist and t u r n it p a l m d o w n , the coin w i l l
a u t o m a t i c a l l y be b a l a n c e d o n t h e t i p of y o u r left i n d e x finger.

T r o y k e e p s h i s r i g h t h a n d f a i r l y s t i l l t h r o u g h o u t the c o u n t (except f o r t h e
m i n i m a l m o t i o n n e c e s s a r y t o m o v e t h e c o i n s f o r w a r d to d i s p l a y t h e m ) . I,
o n the o t h e r h a n d , u s e a s w i n g i n g m o t i o n at the w r i s t s w i t h b o t h h a n d s .
T h a t i s , b e f o r e c o u n t i n g each c o i n , I b e g i n w i t h b o t h h a n d s face d o w n i n
a l o o s e fist. T h e n t o c o u n t each c o i n , I s w i n g u p b o t h h a n d s at the w r i s t s
s i m u l t a n e o u s l y ; m y r i g h t h a n d m o v e s t o d i s p l a y a c o i n a n d m y left h a n d
i n d e x finger m o v e s t o t a p i t . T h i s l a r g e r m o t i o n h e l p s m e c o v e r t h e
s m a l l e r m o t i o n n e e d e d t o d i s p l a y the " t h i r d " c o i n .

H e r e ' s o n e l a s t t i p . Y o u m i g h t h a v e a t e n d e n c y t o p o i n t y o u r left t h u m b
u p w a r d w h e n p o i n t i n g w i t h y o u r left i n d e x finger. H o w e v e r , y o u r left
t h u m b s h o u l d be b e h i n d y o u r left i n d e x finger ( F i g u r e 6). T h e r e a s o n f o r
t h i s i s t o m a k e t h e d i s p l a y o f t h e " t h i r d " c o i n as m u c h l i k e t h e first t w o
as p o s s i b l e . Y o u see, f o r t h e t h i r d c o i n y o u r l e f t t h u m b w i l l b e b e h i n d
y o u r l e f t i n d e x finger, h e l p i n g i t t r a n s f e r a c o i n f r o m y o u r l e f t t o y o u r
right hand.

A t t h i s p o i n t y o u are p r o b a b l y t h i n k i n g , ' N o w t h a t I h a v e t h i s great n e w

c o u n t , w h a t d o I d o w i t h i t ? " W e l l , w e ' r e g l a d y o u a s k e d . T h e effect
d i r e c t l y f o l l o w i n g i s o n e o f T r o y ' s a p p l i c a t i o n s for this c o u n t . •

Troy Hooser's
COPPER SIL VER TRANSMUTA HON
M L : H e r e i s T r o y ' s effect u s i n g Count-er Point T r o y t e l l s m e t h a t t h e
c o u n t w a s a c t u a l l y m o r e of a n o u t g r o w t h o f this effect t h a n v i c e v e r s a . S o
go r o u n d u p three half dollars, t w o English pennies, and a coin purse,
and w e l l get started.

P r i o r to p e r f o r m i n g , place one h a l f d o l l a r a n d the c o i n p u r s e w i t h the

t w o E n g l i s h p e n n i e s i n s i d e i n y o u r left p a n t s p o c k e t . In y o u r r i g h t p a n t s
pocket place the other t w o half dollars.

To begin y o u r performance, reach into y o u r pants pockets to b r i n g out

the c o i n p u r s e . H o w e v e r , i n d o i n g so, p o s i t i o n the h a l f d o l l a r i n y o u r left
p o c k e t i n a l o w finger p a l m . T h a t i s , h o l d the c o i n u s i n g y o u r c u r l e d left
r i n g a n d l i t t l e fingers. P o s i t i o n t h e t w o h a l f d o l l a r s i n y o u r r i g h t p o c k e t
i n the same position i n y o u r right h a n d . N o w b r i n g y o u r h a n d s out of
y o u r p o c k e t s w i t h t h e c o i n p u r s e i n y o u r l e f t h a n d a n d y o u are r e a d y t o
p r o c e e d ( F i g u r e 1).

O p e n the p u r s e w i t h y o u r right h a n d a n d reach i n w i t h y o u r right t h u m b

and i n d e x a n d m i d d l e fingers to take o u t the t w o E n g l i s h pennies.
M a n u e v e r t h e m i n t o a h i g h finger p a l m ( H g u r e 2 o n the n e x t p a g e ) , a n d
place the p u r s e aside. There is n o need to w o r r y about t h e m t a l k i n g
against the t w o h a l f d o l l a r s a l r e a d y i n y o u r left h a n d , since y o u are
s u p p o s e d to b e h o l d i n g m o r e t h a n o n e c o i n .

T i l t y o u r right h a n d t o w a r d y o u r s e l f s o t h a t t h e s p e c t a t o r s d o n o t see
h o w m a n y coins y o u actually took out of the purse. N o w d a z z l e t h e m
w i t h s o m e s p a r k l i n g patter l i k e , "I h a v e h e r e three f o r e i g n c o p p e r coins of
a l m o s t n o v a l u e , E n g l i s h p e n n i e s t o be exact." D i s p l a y a n d c o u n t t h e first
E n g l i s h p e n n y as i n Count-er Point. H o w e v e r , w h e n y o u d r o p i t i n t o
y o u r w a i t i n g left h a n d , m a k e sure i t does not "talk" against the half
d o l l a r a l r e a d y i n y o u r left h a n d a n d b e caTeful n o t t o f l a s h t h e h a l f d o l l a r .

Balance the E n g l i s h p e n n y o n the t i p of y o u r left i n d e x finger i n

preparation to transfer the coin f r o m y o u r left to y o u r right h a n d to
d i s p l a y w h a t a p p e a r s t o b e t h e s e c o n d c o i n ( F i g u r e 3). T h i s i s a v a r i a t i o n
of Couat-er Point. H e r e y o u f a l s e l y d i s p l a y a n d c o u n t t h e s e c o n d c o i n
instead of the t h i r d coin. L e t the "second" English p e n n y fall i n t o y o u r
w a i t i n g left h a n d a n d a l l o w i t to h i t the half d o l l a r already there. T h e
s p e c t a t o r , o f c o u r s e , b e l i e v e s t h e c o i n i s h i t t i n g t h e first E n g l i s h p e n n y .
Complete the count b y displaying and counting the remaining English
p e n n y i n y o u r r i g h t h a n d as c o i n n u m b e r t h r e e T h e n a l l o w i t t o f a l l i n t o
y o u r w a i t i n g left h a n d .

T h e s p e c t a t o r s h a v e j u s t seen y o u c o u n t t h r e e E n g l i s h p e n n i e s a n d h a v e
h e a r d t h e m as t h e y d r o p p e d i n t o y o u r l e f t h a n d . I n a c t u a l i t y , y o u n o w
s h o u l d h a v e t w o E n g l i s h pennies a n d o n e h a l f d o l l a r i n y o u r left h a n d
a n d t w o h a l f d o l l a r s i n a l o w finger p a l m i n y o u r r i g h t h a n d . N o w s a y
s o m e t h i n g l i k e , "I w i l l t r y t o m a k e o n e o f t h e c o i n s m o r e v a l u a b l e . "
Squeeze y o u r left h a n d a n d o p e n i t u p t o s h o w t h a t o n e of t h e E n g l i s h
pennies has changed into a half dollar. Reach over w i t h y o u r right index
a n d m i d d l e fingers, t a k i n g t h e t w o E n g l i s h p e n n i e s f r o m y o u r left h a n d .
D i s p l a y t h e m at t h e t i p of y o u r r i g h t i n d e x a n d m i d d l e fingers w i t h y o u r
r i g h t h a n d p a l m d o w n a n d at t h e e y e l e v e l o f t h e s p e c t a t o r s ( F i g u r e 4).
This allows y o u to conceal the t w o half dollars held i n the l o w finger
p a l m a n d y e t s h o w t h e p a l m of y o u r r i g h t h a n d e m p t y , a l a R a m s e y .

C o n t i n u e b y d i s p l a y i n g t h e h a l f d o l l a r i n y o u r l e f t h a n d at t h e t i p s o f
y o u r left i n d e x a n d m i d d l e fingers i n a s i m i l a r m a n n e r as y o u d i s p l a y e d
the E n g l i s h p e n n i e s . W h i l e y o u a r e d o i n g so, y o u a r e g o i n g t o s w i t c h t h e
E n g l i s h p e n n i e s a n d t h e h a l f d o l l a r s i n y o u r r i g h t h a n d , as f o l l o w s : C u r l
i n t h e fingers o f y o u r r i g h t h a n d w i t h t h e t w o E n g l i s h p e n n i e s b a l a n c e d
o n y o u r m i d d l e fingertip a n d p u s h t h e m i n t o a c l a s s i c p a l m ( F i g u r e 5 o n
t h e n e x t page). If d o n e r i g h t , t h e t w o h a l f d o l l a r s i n t h e l o w finger p a l m
s h o u l d n o t interfere. This i s s o m e w h a t reminiscent of the p a l m change
d e s c r i b e d i n R i c h a r d K a u f m a n ' s Coinmagic D o this w h i l e d i s p l a y i n g the
h a l f d o l l a r i n y o u r left h a n d a n d h a n d i n g i t to a spectator t o e x a m i n e .

Reach o v e r w i t h y o u r left h a n d a n d t a k e one of the half d o l l a r s f r o m

y o u r r i g h t h a n d i n t o y o u r left h a n d w i t h o u t f l a s h i n g i t . A f t e r a l l , t h e
spectators believe this coin to be an E n g l i s h p e n n y . N o w ask a second
s p e c t a t o r t o h o l d o u t h i s h a n d and p l a c e t h e h a l f d o l l a r r e m a i n i n g i n
y o u r right h a n d , another s u p p o s e d E n g l i s h p e n n y , into the spectator's
h a n d . C l o s e the spectator's h a n d a r o u n d the coin w i t h the a i d of y o u r
apparently empty right h a n d . A g a i n be careful not to flash the half
dollar. T h e t w o English pennies classic p a l m e d i n y o u r right h a n d s h o u l d
n o t interfere as y o u d o t h i s .

R e c a p b y e x p l a i n i n g t h a t b o t h y o u a n d t h e s p e c t a t o r each h o l d a c o i n o f
almost n o v a l u e . C o n t i n u e b y s q u e e z i n g the coin i n y o u r left h a n d i n
order to increase its value. O p e n y o u r h a n d to reveal that the second
E n g l i s h p e n n y h a s c h a n g e d i n t o a h a l f d o l l a r . N o w a s k t h e s p e c t a t o r to
s q u e e z e h i s c o i n a n d t h e n h a v e h i m o p e n h i s h a n d to r e v e a l t h a t t h e
third English penny has changed into a half dollar. E n d b y casually
p i c k i n g u p the coin purse w i t h y o u r right h a n d a n d p o c k e t i n g i t a l o n g
w i t h the classic p a l m e d E n g l i s h pennies.

H o r n i n g i n : O f course the coin purse is not absolutely necessary to the

 effect. Y o u c o u l d b e g i n w i t h a l l t h e c o i n s i n y o u r p o c k e t s . T h e p u r s e
does, h o w e v e r , g i v e y o u a reason t o g o to y o u r p o c k e t at t h e e n d i n o r d e r
to d i t c h t h e E n g l i s h p e n n i e s .

Y o u m i g h t w a n t to t r y starting o u t w i t h three E n g l i s h pennies i n the

purse a n d take o u t o n l y t w o of them. This w o u l d a l l o w y o u to s h o w that

1 y o u a c t u a l l y d o h a v e three c o i n s b y d i s p l a y i n g t h e contents o f t h e p u r s e
briefly. H o w e v e r , this m a y be overkill, since y o u eventually d i s p l a y a n d
c o u n t "three" E n g l i s h p e n n i e s a n y w a y .

A l t h o u g h t h i s i s g o o d as i s , T r o y s o m e t i m e s gets f a n c y a n d p e r f o r m s i t
by beginning w i t h t w o half dollars i n the coin purse, an English p e n n y i n
5 h i s l e f t h a n d , a n d a C h i n a t o w n h a l f a n d a g o l d p l a t e d h a l f i n h i s right
h a n d . N o w h e c a n d i s p l a y three half dollars a n d then change t h e m i n t o
an E n g l i s h p e n n y , a C h i n a t o w n half, a n d a g o l d p l a t e d h a l f . *

Mark Fitzgerald's
BACK TWO-GETHER
M L : N o d o u b t , t h e a p p e a r a n c e o f t h i s effect i n T H E M I N O T A U R w i l l
f u l f i l l o n e o f M a r k ' s l i f e l o n g d r e a m s t o see s o m e t h i n g o f h i s i n p r i n t —
a n d t h e n a g a i n , m a y b e n o t A t a n y rate, M a r k i s a g o o d f r i e n d , f o r m e r l y
f r o m A k r o n , O h i o , w h o r e c e n t l y d e f e c t e d t o O r l a n d o , F l o r i d a . D o n ' t get
m e w r o n g . I ' m n o t bitter that h e m o v e d . It's j u s t t h a t h e t o o k h i s p r e t t y ,
v i v a c i o u s , a n d t a l e n t e d a s s i s t a n t L y n n a l o n g w i t h h i m . If i t w e r e n ' t f o r
her l e a v i n g , n o one w o u l d p r o b a b l y h a v e even noticed that h e h a d left
(just k i d d i n g , M a r k ) . B u t , alas, I guess s h e h a d t o g o w i t h h i m . A f t e r a l l ,
s h e i s h i s w i f e . It's h a r d t o i m a g i n e t h o u g h t h a t a n y o n e w o u l d w a n t t o
leave the c o l d brisk winters a n d h o t m u g g y summers of northern O h i o
for t h e c o m f y c o n f i n e s o f t h e s o u t h (that's w h a t a l l u s n o r t h e r n e r s s a y ) .

M a r k i s sort o f t h e F l o r i d a representative o f T H E M T N O T A U R ; h e h a s
h e l p e d o u t b y i n f o r m i n g p e o p l e o f i t s e x i s t e n c e i n t h e O r l a n d o a r e a . In
r e t u r n , i t ' s D a n ' s a n d m y p l e a s u r e t o i n c l u d e M a r k ' s effect here. S o ,
basically i n M a r k ' s o w n w o r d s a n d w a r p e d sense of h u m o r , here i t i s
w i t h o n e m a j o r c h a n g e . Y o u see M a r k i s l e f t - h a n d e d , s o I h a v e c h a n g e d
t h e e x p l a n a t i o n f o r a l l t h e right-handers w h o a r e i n t h e m a j o r i t y . M y
a p o l o g i e s to M a r k a n d a n y o t h e r s o u t h p a w s that m a y b e r e a d i n g t h i s .

O k a y , so y o u have just w a s t e d y o u r audience b y m a k i n g one rubber

b a n d penetrate t h r o u g h another, just l i k e D a v i d C o p p e r f i e l d d i d i n h i s
e l e v e n t h t e l e v i s i o n s p e c i a l . Y o u l o o k at t h e m , t h e y l o o k at y o u , a n d t h e n
some well-educated gentleman says, "Yeah, b u t can y o u p u t 'em back
together?" W e l l , c a n y o u ? W i l l you? Just read o n i n order to learn h o w
y o u t o o c a n m e e t t h i s challenge, t h u s p r o p e l l i n g y o u i n t o h e r o status.

Y o u w i l l n e e d t w o r u b b e r b a n d s . S i z e n i n e t e e n b a n d s seem t o w o r k w e l l .
E x p e r i m e n t w i t h d i f f e r e n t s i z e s t o see w h a t w o r k s b e s t f o r y o u . T h e y
s h o u l d be i n g o o d c o n d i t i o n . There's n o t h i n g m o r e e m b a r r a s s i n g than
h a v i n g o n e o f y o u r r u b b e r b a n d s break i n t h e m i d d l e o f t h e effect. A f t e r
a l l , a n y o n e c a n p u t t w o r u b b e r b a n d s back together i f o n e o f t h e m h a s a n
extra h o l e i n i t . Y o u w i l l also need ten fingers e v e n l y d i v i d e d between
two hands.

A f t e r y o u h a v e caused one rubber b a n d to penetrate t h r o u g h the other

( t h i s c a n b e f o u n d i n TarbelJ # 7 as The Uncanny Penetrating Rubber
 Bands o r b y a s k i n g D a v i d t h e n e x t t i m e y o u see h i m ) , y o u a r e l e f t w i t h
o n e b a n d o n each h a n d stretched a r o u n d y o u r t h u m b s a n d i n d e x f i n g e r s .
Y o u n e e d t o get t h e b a n d o n y o u r r i g h t h a n d a r o u n d y o u r right t h u m b
a n d m i d d l e f i n g e r . E a s y e n o u g h , j u s t s t i c k y o u r right m i d d l e f i n g e r
through the band a n d take your index finger out. Figure 1 o n the
p r e v i o u s p a g e s h o w s h o w t h e b a n d s s h o u l d be situated o n b o t h h a n d s .

B y the w a y , t r y n o t to let the bands slide v e r y far d o w n o n y o u r fingers.

K e e p i n g t h e m about a q u a r t e r i n c h b e l o w t h e cuticle o f y o u r t h u m b s a n d
fingers s e e m s t o m a k e w o r k i n g t h e effect easier.

P o s i t i o n y o u r h a n d s a b o u t a f o o t apart, p a l m s f a c i n g each o t h e r . T h e l e f t
h a n d b a n d s h o u l d b e h o r i z o n t a l , a n d t h e right h a n d b a n d s h o u l d b e
vertical. To p u t the bands back together, a l l o w y o u r h a n d s to approach
each other. D o n ' t s t o p w h e n the b a n d s t o u c h ; k e e p g o i n g u n t i l y o u r
fingers just about t o u c h t h e p a l m o f t h e o p p o s i t e h a n d .

A t this p o i n t y o u r left h a n d stays p r e t t y m u c h stationary, w h i l e y o u r

right h a n d d o e s t h e " d i r t y w o r k . " F i r s t , y o u r right i n d e x finger r e a c h e s
o v e r t h e h o r i z o n t a l b a n d o n y o u r l e f t h a n d . It t h e n m o v e s d o w n a n d
behind the horizontal band (Figure 2 o n the previous page). N o , the
h o r i z o n t a l b a n d i s n o t f l o a t i n g i n F i g u r e 2. T h e left h a n d i s just n o t
s h o w n for clarity. A t this point y o u m a y be w o n d e r i n g w h a t the other
fingers of y o u r right h a n d s h o u l d b e d o i n g . T h e y s h o u l d m o v e d i r e c t l y
a b o v e y o u r left h a n d

Y o u r r i g h t i n d e x f i n g e r c o n t i n u e s i t s m o t i o n b y first c o n t a c t i n g t h e s i d e
of y o u r right t h u m b n e a r e r t o y o u . S l i d e y o u r i n d e x finger i n w a r d a l o n g
y o u r t h u m b , p a s t t h e v e r t i c a l b a n d , w h i c h i s a r o u n d y o u r right t h u m b
a n d m i d d l e finger, u n t i l i t i s at a b o u t t h e first j o i n t o f y o u r right t h u m b
( F i g u r e 3). N o t i c e t h a t y o u r right i n d e x finger i s n o t t h r o u g h t h e v e r t i c a l
b a n d just y e t

N o w m o v e y o u r right i n d e x finger f o r w a r d t h r o u g h t h e v e r t i c a l b a n d a n d
a l o n g y o u r right t h u m b u n t i l y o u r t h u m b p r i n t a n d i n d e x fingerprint m e e t
( F i g u r e 4). B e g i n t o r a i s e y o u right i n d e x finger, a n d , as t h e v e r t i c a l b a n d
b e g i n s t o stretch, b e n d y o u r right m i d d l e finger s l i g h t l y ( F i g u r e 5). T h i s
a l l o w s t h e b a n d t o s l i p o f f y o u r right m i d d l e f i n g e r a n d o n t o y o u r right
i n d e x f i n g e r . C o n t i n u e t o r a i s e y o u r right i n d e x finger u n t i l i t i s a l m o s t
v e r t i c a l ( F i g u r e 6). A l l of a s u d d e n t h e t w o b a n d s are l o c k e d b a c k
together. P u l l y o u r h a n d s apart t o e m p h a s i z e this fact.

H o m i n g i n : O f course, a l l t h e g y m n a s t i c s d o n e b y y o u r right i n d e x finger

are d o n e i n o n e c o n t i n u o u s m o t i o n . T h e w h o l e effect t a k e s o n l y a s e c o n d
o r t w o t o d o . It s h o u l d l o o k as i f t h e b a n d s b e c o m e l o c k e d b a c k t o g e t h e r
as y o u r h a n d s a p p r o a c h each other.

O n e p r o b l e m y o u m i g h t h a v e w i t h t h i s i s h a v i n g t h e right h a n d r u b b e r
band g o f l y i n g off y o u r t h u m b a n d i n d e x finger a n d i n t o t h e spectator's
face. A b i t o f p r a c t i c e a n d a f e w b e a t i n g s f r o m y o u r s p e c t a t o r s s h o u l d
c u r e t h i s . If t h a t doesn't d o i t , c h e c k o u t H e r b Z a r r o w ' s Linking Bands i n
6 K a r l F u l v e s ' Chronicles #32 f o r a d i f f e r e n t h a n d l i n g o f t h i s e f f e c t

O n c e the bands are back together, y o u are i n a p o s i t i o n to d o the

p e n e t r a t i o n f r o m Tarbell # 7 a g a i n . B y t h e w a y , i f y o u d o t h e p e n e t r a t i o n ,
t r y h a v i n g t h e spectator h o l d t h e b a n d u s u a l l y h e l d b y y o u r left h a n d .
M a r k says that w h e n those b a n d s penetrate each other, y o u c a n a l m o s t
h e a r t h e spectator's eyelids s n a p o p e n . ^
David Williamson's
SPECTA TOR CUTS THE KINGS
M L : If y o u h a v e n e v e r s e e n D a v i d W i l l i a m s o n p e r f o r m o r l e c t u r e , y o u
h a v e r e a l l y m i s s e d s o m e t h i n g . I r e c e n t l y h a d t h e o p p o r t u n i t y t o see h i m
d o b o t h at t h e F F F F C o n v e n t i o n i n B u f f a l o , N e w Y o r k . H e w a s , w i t h o u t a
doubt, the hit of the convention. D a v i d is quite an accomplished sleight
of h a n d artist. T h i s i s a t t e s t e d b y t h e fact t h a t h e i s a p a s t w i n n e r of t h e
International Brotherhood of M a g i c i a n s ' G o l d C u p s , given i n recognition
of excellence for the performance of close-up magic. B y c o m b i n i n g his
s k i l l w i t h h i s o f f b e a t s e n s e o f h u m o r , D a v i d i s a b l e t o f o o l , as w e l l as
entertain y o u .

Originariy f r o m X e n i a , O h i o , D a v i d n o w lives i n the W a s h i n g t o n , D . C .

area w i t h h i s w i f e of eight years, M a r s h a . H e tells m e she loves good
m a g i c If that's true, t h e y s h o u l d be together a l o n g , l o n g t i m e

J u s t a b o u t e v e r y b o d y d o e s at l e a s t o n e f o u r ace t r i c k , s o D a v i d c a m e u p
w i t h t h i s t r i c k i n w h i c h a s p e c t a t o r c u t s t o t h e f o u r k i n g s (I w o n d e r w h y
s o m e o n e d i d n ' t t h i n k of t h a t sooner). A l l y o u h a v e t o d o t o p r e p a r e i s t o
s e c r e t l y p l a c e t h e f o u r k i n g s f a c e d o w n o n t o p of y o u r d e c k . W i t h m a t
o u t of t h e w a y , y o u are r e a d y t o p e r f o r m .

Begin b y d o i n g a n y false shuffles, cuts, or a n y t h i n g else y o u d e e m

n e c e s s a r y t o c o n v i n c e t h e s p e c t a t o r t h a t t h e c a r d s are w e l l m i x e d . D o n ' t
get c a r r i e d a w a y ; m a k e sure t h e k i n g s r e m a i n o n t o p of t h e deck.

H o l d t h e d e c k f r o m a b o v e i n y o u r right h a n d i n B i d d l e p o s i t i o n , y o u r
f i n g e r s at t h e o u t e r n a r r o w e n d o f t h e d e c k , y o u r t h u m b at t h e i n n e r
n a r r o w end. E x p l a i n to the spectator that y o u w o u l d l i k e h i m to cut the
deck i n t o a p p r o x i m a t e l y four equal piles. Demonstrate w h a t h e is to d o
as f o l l o w s : U s i n g o n l y y o u r right h a n d , l e a v e a p p r o x i m a t e l y t h e b o t t o m
q u a r t e r of t h e d e c k i n a p i l e t o y o u r right o n the t a b l e M o v i n g t o t h e left
of the first p i l e , l e a v e a p p r o x i m a t e l y the b o t t o m t h i r d of the deck
r e m a i n i n g i n y o u r right h a n d t o f o r m a s e c o n d p i l e C o n t i n u i n g t o y o u r
left, l e a v e a t h i r d p i l e c o n s i s t i n g o f t h e b o t t o m h a l f of t h e p o r t i o n o f t h e
d e c k r e m a i n i n g i n y o u r right h a n d , a n d c o m p l e t e t h e c u t t i n g s e q u e n c e b y
p l a c i n g t h e p o r t i o n of t h e deck r e m a i n i n g i n y o u r right h a n d t o t h e left o f
the previous three piles.

Y o u s h o u l d n o w h a v e f o u r p i l e s of c a r d s i n a r o w o n t h e table, each p i l e
c o n s i s t i n g of a p p r o x i m a t e l y one quarter of the deck, the leftmost p i l e
h a v i n g t h e f o u r k i n g s o n t o p ( F i g u r e 1). R e a s s e m b l e t h e d e c k s o t h a t t h e
f o u r k i n g s are s t i l l o n t o p . H a n d i t t o the spectator a n d h a v e h i m c u t i t as
y o u h a v e just demonstrated. O n c e again, the k i n g s s h o u l d be on t o p of
the l e f t m o s t p i l e

It's n o w t i m e t o see h o w g o o d a " c u t t e r " t h e s p e c t a t o r i s . P i c k u p t h e

l e f t m o s t p i l e w i t h y o u r left h a n d , h o l d i n g i t i n d e a l i n g p o s i t i o n . P u s h o f f
t h e t o p c a r d t o t h e right w i t h y o u r l e f t t h u m b a n d t a k e i t b e t w e e n y o u r
t h u m b a n d i n d e x a n d m i d d l e f i n g e r s o f y o u r p a l m u p right h a n d . F l i c k
t h e o u t e r l e f t c o m e r o f t h i s c a r d w i t h y o u r l e f t t h u m b as y o u s a y , ' L e t ' s
see h o w y o u d i d . "

T u r n y o u r right h a n d s o t h a t t h e c a r d , a k i n g , faces t h e spectator. T a k e a

p e e k at i t y o u r s e l f a n d s a y , " N o t q u i t e a n ace, b u t p r e t t y g o o d . " W h i l e
s h o w i n g t h e k i n g t o t h e s p e c t a t o r , get a l e f t l i t t l e r i n g e r b r e a k u n d e r t h e
t o p c a r d o f t h e p o r t i o n i n y o u r left h a n d ( F i g u r e 2 o n t h e p r e v i o u s page).
N o w t u r n y o u r r i g h t h a n d p a l m u p (thus t u r n i n g t h e k i n g face d o w n )
a n d f l i p t h e k i n g face u p o n t o p o f t h e c a r d s i n y o u r left h a n d as i f i t w a s
the p a g e o f a b o o k , a l l t h e w h i l e m a i n t a i n i n g y o u r left l i t t l e f i n g e r b r e a k
(Figure 3 o n t h e p r e v i o u s page).

Each of the r e m a i n i n g three kings w i l l be revealed u s i n g the f o l l o w i n g

sequence o f actions. P i c k u p the face u p k i n g a n d the face d o w n c a r d
d i r e c t l y b e n e a t h i t (also a k i n g ) f r o m a b o v e w i t h y o u r r i g h t h a n d as i f t h e
t w o cards w e r e o n e c a r d (the reason f o r t h e l i t t l e f i n g e r break). Y o u r r i g h t
t h u m b s h o u l d b e at t h e i n n e r e n d s o f t h e t w o c a r d s , y o u r r i g h t m i d d l e
f i n g e r at t h e o u t e r e n d s , a n d y o u r r i g h t i n d e x f i n g e r s h o u l d b e p r e s s i n g
d o w n l i g h t l y at t h e center o f t h e t w o c a r d s , c a u s i n g t h e m t o b o w s l i g h t l y .

M o v e the t w o cards directly t o the leftmost p i l e o n t h e table. A l l o w the

outer ends of the t w o cards to snap off y o u r right m i d d l e finger as o n e
card onto the pile, so that the outer ends of t h e t w o cards r o u g h l y a l i g n
w i t h the outer e n d of the p i l e . W i t h o u t p a u s i n g , injog t h e face u p k i n g
for about half its length b y s l i d i n g y o u r right index finger i n w a r d , w h i l e
y o u r right t h u m b maintains contact w i t h the i n n e r e n d of t h e face d o w n
k i n g b e l o w ( f i g u r e 4). A s y o u i n j o g t h e k i n g , get a left l i t t l e f i n g e r b r e a k
u n d e r t h e t o p c a r d of t h e p o r t i o n i n y o u r left h a n d .

N o w m o v e y o u r right h a n d i n w a r d , l i f t t h e t w o c a r d s , a n d t u r n y o u r
right h a n d p a l m u p ( f i g u r e 5 d e p i c t s t h e s i t u a t i o n h a l f w a y t h r o u g h t h e
t u r n ) . T h i s w i l l t u r n t h e t w o cards o v e r . S a y s o m e t h i n g c a t c h y l i k e , " O o h ,
y o u ' v e d o n e t h i s b e f o r e , " as t h e s e c o n d k i n g c o m e s i n t o v i e w . It s h o u l d
a p p e a r t o t h e s p e c t a t o r as i f y o u m e r e l y p i c k e d u p t h e f a c e u p k i n g
together w i t h the t o p card of the p i l e a n d turned them over to reveal the
second k i n g . Place the second k i n g o n t o p of t h e cards i n y o u r left h a n d
a n d t h e n f l i p t h e face d o w n k i n g ( t h e f i r s t o n e r e v e a l e d ) face u p o n t h e
l e f t m o s t p i l e o n t h e t a b l e as i f i t w a s t h e p a g e o f a b o o k ( f i g u r e 6).

T h i s sequence of a c t i o n s s h o u l d f l o w s m o o t h l y w i t h o u t p a u s e . R e p e a t t h e
sequence twice m o r e w i t h o u t hesitation u s i n g the m i d d l e a n d rightmost
piles o n the table to reveal the third and fourth kings. T o give the
revelation of t h e last k i n g a little different l o o k , as y o u place t h e t w o
cards o n t h e r i g h t m o s t p i l e , s i m u l t a n e o u s l y p l a c e t h e c a r d s r e m a i n i n g i n
y o u r left h a n d o n t h e t a b l e t o t h e left of t h e o t h e r t h r e e p i l e s . N o w , i n j o g
t h e k i n g o n t h e rightmost p i l e , t u r n t h e t w o c a r d s o v e r , a n d p l a c e t h e
face u p k i n g i n y o u r l e f t h a n d . C o n c l u d e b y p l a c i n g t h e k i n g i n y o u l e f t
h a n d o n t h e l e f t m o s t p i l e as y o u r right h a n d f l i p s t h e f a c e d o w n k i n g i t
h o l d s face u p o n t h e rightmost p i l e .

A s if y o u need to be told, say something like, "Look - t h a f s w o n d e r f u l , "

u p o n r e v e a l i n g the t h i r d k i n g a n d "I've never seen a n y t h i n g l i k e i t
before," as t h e f o u r t h k i n g c o m e s i n t o v i e w .

H o m i n g i n : There is a v e r y slight knack i n getting this t o f l o w smoothly,

b u t it s h o u l d c o m e t o y o u after o n l y a c o u p l e of tries. T h e m e c h a n i c s
a c t u a l l y aren't t h a t d i f f i c u l t I t h i n k i t ' s m o r e t h e t i m i n g t h a t w i l l k e e p i t
from flowing for y o u initially. However, w h e n done smoothly and
w i t h o u t h e s i t a t i o n , t h e r e v e l a t i o n of t h e k i n g s i s b o t h p r e t t y a n d m a g i c a l
l o o k i n g . W h o k n o w s ? T h i s c o u l d start a d e l u g e of f o u r k i n g t r i c k s .

L o o k f o r moTe f r o m D a v i d i n these p a g e s i n the future From what I have

seen, y o u ' r e i n f o r a real treat •
 FROM THE LABYRINTH
M L : It w a s a d a r k a n d s t o r m y n i g h t . O k a y , s o i t w a s m o r e l i k e a n
o v e r c a s t S a t u r d a y afternoon. B u t that's t h e c l a s s i c w a y m a n y m y s t e r y

THE MINOTAUR s t o r i e s b e g i n , a n d s i n c e I'm g o i n g t o r e l a t e t o y o u a m y s t e r y t a l e o f m y

o w n , I t h o u g h t I w o u l d b e g i n i n t h e c l a s s i c m a n n e r . It i s p r o b a b l y t h e
"Half Bull, Half Magic" o n l y p a r t of m y tale that i s c l a s s i c So w i t h o u t further ado, I present t o
M a r v Leventhal y o u "The Strange C a s e of the Boosted Bicycles."
Editor-in-Chief
It's p r o b a b l y h a r d t o b e l i e v e m a t a p u b l i s h i n g t y c o o n l i k e m y s e l f d o e s n o t
Dan Harlan
o w n h i s o w n w a s h i n g m a c h i n e a n d d r y e r , b u t it's t r u e I h a v e t o g o t o a
C r e a t i v e G e n i u s & Illustrator
l a u n d r o m a t t o d o m y l a u n d r y . It's r e a l l y n o t s o b a d t h o u g h . I h a v e
d i s c o v e r e d that i t i s the perfect place to practice card sleights. A f t e r a l l ,
Subscriptions T H E M I N O T A U R is
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published at least quarterly or four times
a year, whichever comes first (more often W i t h a l l t h e w e i r d o s t h a t s o m e t i m e s h a n g o u t at m y l a u n d r o m a t , a g u y
if w e feel u p to it). Single issues are $5.00. w i t h a deck o f c a r d s d o i n g f a r o s h u f f l e s b a r e l y raises a n e y e l i d .
Y o u can save yourself a couple of bucks
b y subscribing. A one year subscription If y o u g o t o m y l a u n d r o m a t , h o w e v e r , t h e r e i s o n e o t h e r t h i n g y o u c a n
(four issues) is $18.00. M a k e y o u r check d o w h i l e t h e w a s h e r s a n d d r y e r s are m a k i n g m i n c e m e a t o f y o u r d o t h e s ,
or m o n e y o r d e r p a y a b l e to T H E a n d that i s g o g r o c e r y s h o p p i n g . Y o u see, right n e x t t o m y l a u n d r o m a t i s
M I N O T A U R and mail it to: a m a j o r s u p e r m a r k e t . A t t h i s p o i n t y o u are p r o b a b l y a s k i n g y o u r s e l f , ' S o
what's the b i g mystery already?" W e l l , the following is w h a t actually
THE MINOTAUR h a p p e n e d t o m e o n t h a t o v e r c a s t S a t u r d a y a f t e r n o o n , a n d it's n o b u l l .
P . O . B o x 25
B r e c k s v i l l e , O H 44141-0025
There I w a s i n the l a u n d r o m a t p r a c t i d n g some irrelevant card sleight
that escapes m e at t h e m o m e n t , w h e n i t d a w n e d u p o n m e t h a t s t a r v a t i o n
S u b m i s s i o n s : Y o u r editorial submissions
was i n the offing if I d i d not d o some s h o p p i n g . I p u t m y cards i n their
(tricks, bits of business, essays,
case, tossed t h e m i n t o m y l a u n d r y basket to k e e p m y detergent a n d
comments, anecdotes, fan m a i l , etc., and
m a g i c a l r a m b l i n g s i n general) are not fabric softener c o m p a n y , a n d p r o c e e d e d d i r e c t l y t o t h e s u p e r m a r k e t
only welcome, but encouraged i n order to
assure the f u t u r e v i a b i l i t y of t h i s fine W e l l , t h i n g s w e n t f i n e at t h e s u p e r m a r k e t . T h e y h a d a l l t h e i t e m s I
p u b l i c a t i o n . Y o u r s u b m i s s i o n s w i l l be w a n t e d , a n d I m a d e i t t h r o u g h t h e c h e c k o u t w i t h o u t a p r i c e c h e c k Qaard
returned if a self-addressed, stamped t o b e l i e v e , i s n ' t i t ) . I e v e n h a d t h e c o r r e c t c h a n g e It w a s n o t u n t i l I h a d
envelope is included. p u t m y groceries i n m y car a n d r e t u r n e d to the l a u n d r o m a t , that I
realized w h a t h a d happened.
Permissions: N o part of this publications
m a y be reproduced, i n any form, by any
B e i n g that m y l a u n d r y h a d n o t as y e t r e a c h e d t h e p i n n a d e o f cleanliness,
m e a n s , be i t e l e c t r o n i c , m e c h a n i c a l ,
I d e d d e d to practice a few more gyrations w i t h the cards. HoweveT,
photocopying, or even a pencil w i t h o u t
the written permission of D a n and M a r v . w h e n I reached for m y deck, h o r r o r of horrors, it w a s g o n e Someone h a d
In a d d i t i o n , t h e m a n u f a c t u r i n g a n d pilfered m y B i c y d e s . Y o u can, of course, i m a g i n e the w a v e of shock w i t h
commercial rights for all items contained w h i c h I w a s o v e r c o m e , yet I w a s s t i l l able t o k e e p m y w i t s a b o u t m e
herein are reserved by their contributors
and T H E M I N O T A U R I i m m e d i a t e l y s u r v e y e d the scene of the c r i m e for suspects. C o u l d it be
the girl b e h i n d the counter w i t h the h a l f - w i t smile? C o u l d i t be the fat
Advertising: W r i t e to T H E M I N O T A U R l a d y i n t h e t o o t i g h t jeans u s i n g h a l f t h e w a s h e r s i n t h e place? O r c o u l d i t
for a d v e r t i s i n g i n f o r m a t i o n . Please be be t h e s u a v e d i m e store p l a y b o y w i t h a g u m b a l l m a c h i n e ring o n each o f
s u r e to i n c l u d e a t e l e p h o n e n u m b e r h i s fingers? A n y o f t h e m c o u l d h a v e d o n e i t . H o w e v e r , t h e p e r p e t r a t o r
where y o u can be reached.
left n o i n c r i m i n a t i n g evidence b e h i n d to go on, and I saw n o telltale
o u t l i n e o f a r e c t a n g u l a r box i n a n y o f t h e s u s p e c t s ' p o c k e t s .
THE MINOTAUR
Copyright 1989
by M a r v i n J. Leventhal Alas, I w a s baffled. Probably even Sherlock H o l m e s w o u l d not have
& Daniel D . Harlan cracked this c a s e So u n l i k e y o u r classic m y s t e r y stories, this one does
A l l Rights Reserved n o t h a v e a h a p p y e n d i n g . T h e l a u n d r o m a t b a n d i t a n d m y d e c k r e m a i n at
Printed i n the U S A . large. I guess i t just goes to s h o w y o u that s o m e p e o p l e v a l u e a deck of
5/89-3 cards m o r e h i g h l y than they v a l u e d e a n l a u n d r y . W h e n y o u stop to t h i n k
a b o u t i t , w h a t k i n d o f jerk w o u l d steal a d e c k o f c a r d s a n y w a y ( p r o b a b l y
some l o w d o w n , n o good magician w i t h dirty dothes, n o d o u b t ) . *
 THE
INDTAUR
'HALF B I L L H A L F MAMIE"
C o p y r i g h t 1989 b y M a r v i n J. L e v e n t h a l & D a n i e l D . H a r l a n S e p t e m b e r 1989 / $5.00

Tom Craven's
END OVER ACES M L : Since its inception, T o m has been v e r y enthusiastic about a n d
s u p p o r t i v e o f T H E M I N O T A U R . H e h e l p e d D a n a n d m e get s t a r t e d b y
d r u m m i n g u p n e w subscribers, a n d n o w he continues his s u p p o r t b y
c o n t r i b u t i n g this excellent c u t t i n g the aces effect. D a n a n d I l i k e i t ,
b e c a u s e i t h a s a d i f f e r e n t l o o k t o i t t h a n m o s t effects o f t h i s t y p e . S o ,
r o u n d u p a n y o l d deck, a n d w e l l get u n d e r w a y .

A m i n o r s e t u p i s r e q u i r e d ( b i g s u r p r i s e ) . B y secretly p l a c i n g t h r e e o f t h e
aces face d o w n o n t o p o f the d e c k a n d t h e r e m a i n i n g ace face d o w n o n
the b o t t o m , y o u are i n p o s i t i o n to b e g i n .

T o p e r f o r m , h o l d t h e d e c k f r o m a b o v e i n y o u r right h a n d i n B i d d l e
p o s i t i o n , y o u r f i n g e r s r e s t i n g at t h e o u t e r n a r r o w e n d o f t h e d e c k , y o u r
t h u m b r e s t i n g at the i n n e r n a r r o w e n d . S a y s o m e t h i n g l i k e , " If I g i v e t h e
d e c k a f e w cuts, I c a n s o m e t i m e s c u t t o a n a c e " K i c k c u t a p p r o x i m a t e l y
the t o p quarter of the deck i n t o y o u r left h a n d . That i s , w i t h the t i p o f
y o u r right i n d e x f i n g e r , lift u p a p p r o x i m a t e l y the t o p q u a r t e r o f the d e c k
a n d m o v e both y o u r index finger a n d the outer e n d of the top quarter
p a c k e t t o t h e l e f t . W i t h t h e s i d e o f y o u r right t h u m b a c t i n g as t h e
f u l c r u m , the t o p quarter packet s h o u l d m o v e d i a g o n a l l y off the t o p o f t h e
deck. N o w p l a c e y o u r left t h u m b o n t h e d i a g o n a l t o p q u a r t e r a n d t a k e i t
i n t o the f o r k of y o u r left t h u m b ( F i g u r e 1).

A s y o u t a k e the t o p q u a r t e r p a c k e t w i t h y o u r left h a n d , y o u r left t h u m b

p u s h e s t h e t o p c a r d o f t h i s p a c k e t o v e r e v e r s o s l i g h t l y to the right, j u s t
e n o u g h to e n a b l e y o u to o b t a i n a l e f t l i t t l e f i n g e r b r e a k u n d e r t h i s c a r d
(an ace). N o w k i c k c u t t w o o r t h r e e m o r e p a c k e t s o f c a r d s f r o m y o u r
r i g h t h a n d on top of the c a r d s i n y o u r left h a n d , a l l the w h i l e
m a i n t a i n i n g y o u r left l i t t l e f i n g e r break. W h e n y o u h a v e a b o u t a q u a r t e r
of the deck r e m a i n i n g i n y o u r right h a n d , s t o p the k i c k cuts a n d p l a c e t h e
p a c k e t r e m a i n i n g i n y o u r right h a n d a p p a r e n t l y s q u a r e o n t o p o f t h e

1 End Over Extra 4

N 5
S 7
1
i
11
D
E 12
cards i n y o u r left h a n d . H o w e v e r , o b t a i n a break u n d e r this last packet
w i t h y o u r left r i n g f i n g e r ( F i g u r e 2, p r e v i o u s page).

If t h i s c u t t i n g s e q u e n c e w a s d o n e c o r r e c t l y , t h e r e s h o u l d b e t w o aces
b e l o w y o u r l i t t l e f i n g e r b r e a k , o n e ace a b o v e i t , a n d o n e ace a b o v e y o u r
r i n g f i n g e r b r e a k . I k n o w , t w o finger b r e a k s — p r e t t y s c a r y s t u f f , eh?
W e l l , d o n ' t p a n i c . T h e ring finger b r e a k i s h e l d f o r o n l y t h e b r i e f e s t o f
m o m e n t s . A s a n alternative, i f y o u n e v e r a c t u a l l y let g o of t h e l a s t p a c k e t
i n y o u r right h a n d as y o u a p p a r e n t l y s q u a r e i t o n t o p o f t h e c a r d s i n
y o u r l e f t h a n d , y o u r right t h u m b c a n m a i n t a i n t h i s m o m e n t a r y b r e a k
i n s t e a d o f y o u r left ring finger.

I m m e d i a t e l y f o l l o w i n g t h e c u t t i n g s e q u e n c e , p l a c e y o u r right fingers at
t h e o u t e r e n d o f t h e d e c k a n d y o u r right t h u m b at t h e i n n e r e n d o f t h e
d e c k (if t h e y are n o t a l r e a d y there). In a c o n t i n u o u s m o t i o n , lift u p
s l i g h t l y o n t h e p a c k e t a b o v e t h e u p p e r m o s t b r e a k w i t h y o u r right t h u m b
and slide that p o r t i o n f o r w a r d , o u t j o g g i n g it for about half its l e n g t h .
N o w g r a s p t h e o u r j o g g e d p a c k e t w i t h y o u r right t h u m b o n t o p a n d y o u r
right f i n g e r s c u r l e d a r o u n d t h e o u t e r e n d o n t h e b o t t o m o f t h e p a c k e t
( F i g u r e 3). T u r n t h e o u r j o g g e d p a c k e t o v e r , e n d o v e r e n d ( F i g u r e 4), t o
r e v e a l t h e first ace ( F i g u r e 5). K e e p t h i s p a c k e t m o m e n t a r i l y o u r j o g g e d
a f t e r t u r n i n g i t o v e r . W i t h y o u r l e f t t h u m b p u s h t h e first a c e o f f t h e
ourjogged p a c k e t i n t o y o u r right h a n d a n d p l a c e the ace o n the t a b l e

F o r t h e s e c o n d a c e , p l a c e y o u r right fingers at t h e o u t e r e n d o f t h e
o u r j o g g e d p a c k e t a n d y o u r right t h u m b at t h e i n n e r e n d o f t h e i n j o g g e d
packet a n d square the t w o packets b y p u l l i n g the ourjogged p a c k e t
i n w a r d w i t h y o u r right fingers. S a y , " I f I c u t a g a i n , I c a n c u t to a s e c o n d
a c e " R e v e a l t h e s e c o n d ace i n t h e s a m e exact m a n n e r as y o u r e v e a l e d
t h e first ace. T h a t i s , l i f t u p s l i g h t l y o n t h e p a c k e t a b o v e t h e l e f t l i t t l e
finger b r e a k ( y o u s t i l l h a v e t h e left l i t t l e finger break, don't y o u ? ) , o u t j o g
it, a n d r u m i t o v e r , e n d o v e r e n d , to b r i n g the s e c o n d ace i n t o v i e w . K e e p
the p a c k e t o u r j o g g e d as y o u p l a c e t h i s ace o n the table w i t h the first o n e .

A t t h i s p o i n t say, " If I h a d cut to a n y o f these cards, y o u c a n see n o n e o f

t h e m are aces," as y o u s p r e a d t h e face u p c a r d s o f t h e o u r j o g g e d p a c k e t
f r o m y o u r left h a n d i n t o y o u r right h a n d ( F i g u r e 6) a n d p l a c e t h e m i n a
face u p p i l e o n t h e table. N o w t a k e t h e face d o w n cards of the o u r j o g g e d
p a c k e t f r o m a b o v e i n y o u r right h a n d , y o u r t h u m b at t h e m i d d l e o f i t s
i n n e r e n d , y o u r m i d d l e f i n g e r at t h e m i d d l e o f i t s o u t e r e n d , a n d y o u r
i n d e x finger at t h e m i d d l e o f i t s l e f t l o n g s i d e L i f t t h i s p a c k e t a w a y t o
t h e right o f t h e i n j o g g e d p a c k e t . T u r n i t face u p b y p u l l i n g u p o n t h e left
s i d e o f t h e p a c k e t w i t h y o u r right i n d e x finger ( F i g u r e 7) as y o u r right
h a n d m a k e s a q u a r t e r t u r n c l o c k w i s e at the w r i s t

A s y o u t u r n t h e right h a n d p a c k e t face u p , s i m u l t a n e o u s l y t u r n t h e l e f t
h a n d packet face u p . T h i s i s a c c o m p l i s h e d b y m o v i n g y o u r left t h u m b
u n d e r i t s p a c k e t a n d p u s h i n g u p o n i t s left l o n g side, t h u s flipping i t o v e r
i n y o u r p a l m u p left h a n d . A s y o u t u r n t h e t w o p a c k e t s face u p , g e s t u r e
t o w a r d t h e f a c e c a r d o f each p a c k e t a n d s a y , " A n d t h e r e i s n o ace h e r e
a n d n o ace h e r e " P l a c e t h e face u p p a c k e t i n y o u r right h a n d o n the face
u p p a c k e t o n t h e table. P i c k u p t h e c o m b i n e d p a c k e t f r o m the t a b l e a n d
place it o n the face u p packet i n y o u r left h a n d . A t this p o i n t there
s h o u l d b e t w o aces at the b o t t o m of the face u p d e c k i n y o u r left h a n d .

Say, " L e t ' s t r y i t face u p t h i s time" G e t a b r e a k a b o v e the b o t t o m c a r d (a

l i t t l e f i n g e r p u l l d o w n o r a b o t t o m c a r d b u c k l e w i l l d o the trick). L e t y o u r
right t h u m b t a k e o v e r t h e left tittle finger b r e a k a n d b e g i n a k i c k c u t o f
a p p r o x i m a t e l y the t o p h a l f o f the d e c k i n t o y o u r left h a n d . A s t h i s h a l f i s
t a k e n i n t o t h e f o r k o f y o u r left t h u m b , i m m e d i a t e l y t u r n y o u r p a l m u p
left h a n d to the left, t u r n i n g the t o p h a l f o f the deck p e r p e n d i c u l a r to a n d
o n t o p of the b o t t o m h a l f h e l d f r o m a b o v e b y y o u r r i g h t h a n d ( F i g u r e 8).

N o w c l a m p y o u r r i g h t i n d e x f i n g e r d o w n o n the r i g h t n a r r o w e n d o f t h e
left h a n d packet to h o l d i t as y o u release y o u r left h a n d g r i p . C o n t i n u e b y
t u r n i n g y o u r left h a n d p a l m d o w n a n d r e g r i p p i n g the u p p e r p a c k e t f r o m
above, y o u r left fingers o n the outer l o n g end of the deck, y o u r left
t h u m b o n t h e i n n e r l o n g e n d ( F i g u r e 9). C o m p l e t e t h e c u t b y t u r n i n g
y o u r left h a n d p a l m u p , t h u s t u r n i n g the p a c k e t i t h o l d s face d o w n , a n d
p l a c i n g the p a c k e t u n d e r n e a t h t h e right h a n d p a c k e t , s o t h a t i t m e s h e s
w i t h the c a r d b e l o w the right t h u m b break. M a i n t a i n b o t h y o u r right a n d
left h a n d g r i p s a n d the right t h u m b b r e a k i n p r e p a r a t i o n f o r w h a t I w i l l
c a l l the h i n g e m o v e

A t this p o i n t y o u s h o u l d h a v e a face u p packet above the break, the

b o t t o m c a r d o f t h i s p a c k e t b e i n g a n ace. B e l o w t h e b r e a k y o u s h o u l d
h a v e a face u p ace o n t o p o f a n o t h e r w i s e face d o w n p a c k e t

T h e h i n g e m o v e i s n o w p e r f o r m e d as f o l l o w s : W h i l e m a i n t a i n i n g t h e
break, s l i d e the deck f o r w a r d w i t h y o u r right h a n d u n t i l t h e i n n e r n a r r o w
e n d of the packet b e l o w the break i s h e l d between y o u r left t h u m b a n d
m i d d l e finger. N o w p u l l u p a n d i n w a r d o n the outer e n d of the deck
w i t h y o u r right fingers as y o u r l e f t t h u m b a n d m i d d l e finger p u l l d o w n
a n d o u t w a r d o n t h e i n n e r e n d o f the p a c k e t b e l o w t h e b r e a k ( F i g u r e 10).
W i t h the t w o p a c k e t s h i n g e d at y o u r right fingers, the p a c k e t b e l o w t h e
break w i l l s w i n g a w a y f r o m y o u a n d t u r n over, e n d over end, onto y o u r
left p a l m ( F i g u r e 11). W a t c h y o u r angles as y o u p e r f o r m the h i n g e m o v e
since there i s a face u p ace o n t o p of the p a c k e t b e l o w the b r e a k j u s t
p r i o r to the m o v e .

P l a c e the p a c k e t h e l d b y y o u r right h a n d i n y o u r left h a n d b e l o w the l e f t

h a n d p a c k e t a n d o u t j o g g e d . S a y " N o ace h e r e o r h e r e , " as y o u g e s t u r e
t o w a r d the face u p c a r d s o n t o p o f the t w o packets. G r i p t h e t w o p a c k e t s
w i t h y o u r right h a n d , y o u r right t h u m b o n t o p o f t h e o u t e r e n d o f t h e
i n j o g g e d p a c k e t , y o u r right f i n g e r s c u r l e d a r o u n d t h e o u t e r e n d o f t h e
outjogged packet, t o u c h i n g i t at its m i d d l e o n t h e b o t t o m (Figure 12). S a y ,
" B u t i f I t u r n the w h o l e d e c k o v e r , there's t h e t h i r d ace s t i c k i n g right o u t
o f the m i d d l e o f t h e d e c k . " W i t h y o u r right h a n d , t u r n t h e w h o l e k i t ' n '
c a b o o d l e o v e r , e n d o v e r e n d , i n y o u r left h a n d to r e v e a l a face u p ace o n
t o p of the n o w outjogged l o w e r p a c k e t

R e m o v e t h i s a c e b y f i r s t s l i d i n g i t f o r w a r d j u s t a b i t w i t h y o u r right
t h u m b . T h e n m o v e y o u r right i n d e x finger t o t h e o u t e r left c o m e r o f t h e
ace a n d p u l l i t to the right T h e ace s h o u l d p i v o t o u t o f t h e d e c k a r o u n d
y o u r l e f t i n d e x finger i n t o y o u r right h a n d ( F i g u r e 13, n e x t page). P l a c e
this ace w i t h the other t w o aces o n t h e t a b l e

S q u a r e t h e t w o p a c k e t s w i t h y o u r right h a n d , o b t a i n i n g a b r e a k w i t h
y o u r right t h u m b u n d e r the t o p c a r d o f the d e c k (the l a s t ace) as y o u d o
so. S a y , " F o r t h e l a s t ace, i f y o u j u s t c u t , y o u w o n ' t f i n d i t " W i t h y o u r
left h a n d , c u t o f f a p p r o x i m a t e l y t h e b o t t o m h a l f o f the d e c k a n d t u r n i t
face u p o n t o p of the deck s o that i t m e s h e s w i t h t h e ace a b o v e the b r e a k .
N o w p e r f o r m t h e h i n g e m o v e a g a i n a n d p l a c e t h e right h a n d p a c k e t
s q u a r e u n d e r n e a t h t h e left h a n d p a c k e t . Say, " T h a t i s , y o u w o n ' t find i t
u n t i l y o u r u m t h e w h o l e t h i n g o v e r . " R e v e a l the l a s t ace b y u s i n g y o u r
right h a n d to t u r n the deck o v e r , e n d o v e r e n d .
 H o r n i n g i n : A s a n a l t e r n a t i v e , y o u c o u l d set u p b y s e c r e t l y p l a c i n g a l l
f o u r aces face d o w n o n t o p of the deck a n d start b y o p e n l y d o u b l e
u n d e r c u t t i n g t h e t o p a c e t o t h e b o t t o m . If y o u f e e l t h e n e e d , a f a l s e
s h u f f l e c o u l d be e a s i l y t h r o w n i n just p r i o r to the d o u b l e u n d e r c u t .
H o w e v e r , w i t h a l l the c u t t i n g g o i n g o n t h r o u g h o u t t h i s effect, I d o n ' t feel

( ( there i s a n e e d to d o a n y false s h u f f l e s to c o n v i n c e the spectator that the

c a r d s are m i x e d . T h e aces j u s t s e e m to a p p e a r o u t o f n o w h e r e . A l t h o u g h
i t m a y r e a d s o m e w h a t c o m p l i c a t e d , d o n ' t l e t t h a t p u t y o u o f f . It's a n
s 13
excellent effect, a n d , as a n a d d e d b o n u s , it's n o t d i f f i c u l t to d o . ^

Tom Craven's
END OVER EXTRA
M L : In o r d e r to h a v e a n e x t r a c l i m a x at t h e e n d of End Over Aces, T o m
c a m e u p w i t h End Over Extra. H e r e y o u b e g i n b y h a v i n g a s p e c t a t o r
select a c a r d . Y o u t h e n p e r f o r m End Over Aces a n d c o n c l u d e b y c u t t i n g
to the spectator's selection.

Y o u r s t a r t i n g p o s i t i o n i s the s a m e as i n End Over Aces, that i s , three aces

o n t o p o f t h e d e c k a n d o n e ace o n t h e b o t t o m . S p r e a d t h e c a r d s f r o m
y o u r left h a n d to y o u r r i g h t h a n d i n o r d e r to a l l o w a spectator a free
s e l e c t i o n o f a n y c a r d i n t h e d e c k ( w e l l , a l m o s t a n y c a r d — m a k e s u r e the
s p e c t a t o r d o e s n o t select a n y o f t h e a c e s ) . A f t e r t h e s p e c t a t o r l o o k s at
(and h o p e f u l l y remembers) h i s c a r d , it m u s t be r e p l a c e d d i r e c t l y
u n d e r n e a t h the three aces o n t o p of the deck. Since the spectator i s
u n l i k e l y t o o b l i g e y o u b y p l a c i n g h i s c a r d i n t h i s p o s i t i o n o f h i s o w n free
w i l l , T o m u s e s t h e s u b t e r f u g e c o m m o n l y k n o w n as t h e b l u f f p a s s t o
accomplish this.

T h e b l u f f p a s s i s p e r f o r m e d as f o l l o w s : A f t e r the spectator h a s selected a

c a r d , s q u a r e t h e d e c k u p i n y o u r l e f t h a n d . H o w e v e r , as y o u d o s o ,
o b t a i n a l e f t l i t t l e finger b r e a k u n d e r t h e t o p t h r e e c a r d s o f t h e d e c k
( F i g u r e 1). N o w , w i t h t h e d e c k i n l e f t h a n d d e a l i n g p o s i t i o n , a s k t h e
s p e c t a t o r to s a y s t o p as y o u r i f f l e d o w n the o u t e r left h a n d c o m e r o f the
d e c k w i t h y o u r left t h u m b . W h e n t h e s p e c t a t o r s a y s s t o p , f o r m a v i s i b l e
b r e a k at t h a t s p o t w i t h y o u r l e f t t h u m b a n d p r e t e n d t o l i f t o f f a l l t h e
c a r d s a b o v e y o u r t h u m b b r e a k w i t h y o u r r i g h t h a n d . In actuality, y o u l i f t
off o n l y the three cards above y o u r left little finger break w h i l e
s i m u l t a n e o u s l y m o v i n g y o u r left t h u m b o u t of i t s b r e a k ( F i g u r e 2).
G e s t u r e t o w a r d t h e c a r d s i n y o u r left h a n d w i t h y o u r r i g h t i n d e x finger
( F i g u r e 3) a n d a s k t h e s p e c t a t o r t o p l a c e h i s s e l e c t i o n o n t o p o f t h i s
p o r t i o n . C o m p l e t e the b l u f f p a s s b y s l a p p i n g the t h r e e c a r d s i n y o u right
h a n d o n t o p o f t h e spectator's selection.

A t this p o i n t , the spectator s h o u l d be c o n v i n c e d that he placed his

s e l e c t i o n a t t h e p o i n t at w h i c h h e s t o p p e d y o u . If y o u r right f i n g e r s
o b s c u r e the f r o n t e n d o f d e c k as y o u l i f t o f f the t o p three c a r d s , a n d y o u
tilt t h e o u t e r e n d o f the p a c k e t s i n each h a n d s l i g h t l y d o w n w a r d to h i d e
their relative thickness (and thinness), the i l l u s i o n is v e r y c o n v i n c i n g
( F i g u r e 4, n e x t page).

O k a y , s o n o w t h e selected c a r d i s f o u r t h f r o m t h e t o p o f the deck, b e l o w

t h e t h r e e a c e s . P e r f o r m End Over Aces t o c u t t o t h e f o u r a c e s as
described, w i t h one teeny-weeny exception. A f t e r the h i n g e m o v e for
c u t t i n g t o t h e l a s t ace, i n s t e a d o f p l a c i n g t h e right h a n d p a c k e t s q u a r e
u n d e r n e a t h the left h a n d p a c k e t , p u t i t u n d e r n e a t h ourjogged, as y o u d i d
 f o r t h e t h i r d ace. If y o u w e r e to p u t i t u n d e r n e a t h s q u a r e , y o u w o u l d
l o o s e t h e spectator's s e l e c t i o n . N o w t u r n t h e w h o l e d e c k o v e r , e n d o v e r
end, to r e v e a l the l a s t ace o n t o p of t h e n o w i n j o g g e d p a c k e t a n d p l a c e it
o n the table w i t h the other three aces.

T h e spectator's s e l e c t i o n s h o u l d n o w b e o n t o p o f t h e o u t j o g g e d p a c k e t .
A p p a r e n t l y s q u a r e the deck b y p u s h i n g the i n j o g g e d p a c k e t f o r w a r d w i t h
y o u r right t h u m b . H o w e v e r , as y o u d o so, get a l e f t l i t t l e f i n g e r b r e a k
b e t w e e n t h e t w o packets. W i t h y o u r right h a n d , cut t w o o r three p a c k e t s
of cards off the t o p of the deck i n t o a p i l e o n the t a b l e M a k e y o u r last
cut to the break. C o m p l e t e the c u t t i n g sequence b y p l a c i n g the packet
r e m a i n i n g i n y o u r left h a n d o n t h e t a b l e d p i l e . T h e spectator's s e l e c t i o n
s h o u l d be t h e t o p c a r d of t h e p i l e . W i t h t h e selected c a r d i n t h i s p o s i t i o n ,
r e v e a l i t i n t h e s a m e e x a c t m a n n e r as y o u r e v e a l e d t h e l a s t ace i n End
Over Aces.

H o m i n g i n : W h e n p e r f o r m i n g End Over Extra, y o u w i l l , n o d o u b t , w a n t

to a l t e r y o u r p a t t e r b y t e l l i n g t h e s p e c t a t o r t h a t y o u w i l l t r y t o c u t t o
t h e i r s e l e c t e d c a r d ( w h i l e " a c c i d e n t a l l y " c u t t i n g t o t h e aces i n s t e a d ) .
A f t e r c u t t i n g to t h e s e c o n d ace a n d s p r e a d i n g t h e face u p c a r d s o n t h e
outjogged packet f r o m h a n d to h a n d , y o u m i g h t say s o m e t h i n g l i k e ,
" M a y b e o n e o f these c a r d s i s y o u r c a r d . " T h e n as y o u t u r n the o t h e r t w o
packets face u p a n d gesture t o w a r d s the face c a r d of each packet, y o u
m i g h t a d d , " I t c o u l d b e this o n e o r i t c o u l d b e t h i s o n e " A t t h i s p o i n t t h e
spectator w i l l u s u a l l y indicate that it i s not either of these cards. I t h e n
a d d , " O f course, it's p r o b a b l y n o t "

A f t e r y o u h a v e c u t to the f o u r aces a n d are a l l r e a d y to r e v e a l t h e

selected c a r d , g e s t u r e t o w a r d t h e i n d i f f e r e n t c a r d o n t o p o f t h e f a c e u p
d e c k a n d ask, " Is t h i s y o u r c a r d ? " W h e n the s p e c t a t o r a n s w e r s n o , s a y ,
" W e l l , then this m u s t be y o u r c a r d . " T o m ends b y t u r n i n g the deck o v e r
s i d e w a y s o n the table, i n s t e a d o f e n d o v e r e n d , t o r e v e a l t h e spectator's
selection (Figure 5).

I h a v e p e r f o r m e d b o t h End Over Aces a n d End Over Extra, b u t l a t e l y I

s e e m to h a v e t a k e n a s h i n e to End Over Extra. I t h i n k i t i s b e c a u s e o f t h e
" m a g i c i a n i n t r o u b l e " a s p e c t o f n o t b e i n g a b l e t o find t h e s p e c t a t o r ' s
s e l e c t i o n . Y e t , at t h e s a m e t i m e , y o u a r e a b l e t o s h o w s o m e s k i l l b y
c u t t i n g to the aces i n t h e i n t e r i m . If y o u t r y either effect, I t h i n k y o u w i l l
a g r e e that t h e i m p a c t , e s p e c i a l l y o n l a y m e n , i s o u t o f p r o p o r t i o n t o t h e
amount of skill r e q u i r e d . ^

Vic Kulich & Daryl's ^ ^ ^ ^ ^ ^ =

MOTHER NA TURE'S MISTAKE
M L : S o m e of y o u m i g h t r e c o g n i z e t h i s e f f e c t as D a r y l ' s Audio
Transposition i n d i s g u i s e . W h a t V i c h a s d o n e i s t a k e n D a r y l ' s effect, i n
w h i c h the sounds m a d e b y a squeeze toy a n d a rattle s w i t c h places,
r e w o r k e d it s i g h t l y , a n d g i v e n it a n e w p r e s e n t a t i o n .

V i c f i r s t p e r f o r m e d t h i s at a n A k r o n , O h i o I . B . M . R i n g 161 m o n t h l y
m e e t i n g . V i c t o l d m e h e w a s i n s p i r e d t o c o m e u p w i t h t h i s effect a f t e r
seeing D a r y l lecture i n A k r o n . I thought it w a s a v e r y clever a n d l o g i c a l
p r e m i s e for D a r y l ' s effect. W i t h V i c ' s consent, I told D a r y l a b o u t t h e effect
the n e x t time I s a w h i m at a m a g i c c o n v e n t i o n . I h a v e s i n c e a s k e d b o t h
V i c a n d D a r y l i f w e c o u l d u s e the effect i n T H E M I N O T A U R . I a m h a p p y
to s a y that b o t h of t h e m s a i d yes. T h a n k s g u y s , o t h e r w i s e these c o u p l e of
pages w o u l d be b l a n k .

H e r e is a brief description, k i n d of l i k e w h a t y o u w o u l d read i n a m a g i c

a d v e r t i s e m e n t . A m o u s e i s s h o w n to h a v e been b o m w i t h t h e v o i c e o f i t s
m o r t a l enemy, the rattlesnake. T o m a i n t a i n nature's balance, a snake is
s h o w to h a v e b e e n b o m w i t h t h e v o i c e o f t h e m o u s e . T h e m a g i c i a n uses
t h e p o w e r o f m a g i c t o r e s t o r e t h e v o i c e s t o t h e i r rightful o w n e r s b y
p l a c i n g a m a g i c w a n d o n the t w o unfortunate creatures. A s the w a n d is
lifted, the m a g i c a l s o u n d of the transposition is actually heard. O n c e the
t r a n s p o s i t i o n i s s h o w n to b e c o m p l e t e , t h e w a n d a n d t h e t w o creatures
can be i m m e d i a t e l y examined.

T o p e r f o r m t h i s effect, y o u w i l l n e e d a s q u e a k y s q u e e z e t o y m o u s e , a t o y
r u b b e r s n a k e ( V i c u s e s o n e a p p r o x i m a t e l y 30 i n c h e s l o n g ) , a s q u e a k e r
gaff, 2 rattle gaffs, a s o u n d d e v i c e (this i s o p t i o n a l ) , a w a n d , a n d a c l o t h
b a g l a r g e e n o u g h to h o l d a l l o f the a b o v e i t e m s .

T h e s q u e a k e r gaff, a s m a l l , s o m e w h a t flat, c i r c u l a r p l a s t i c b u l b ( F i g u r e 1,
p r e v i o u s p a g e ) i s c a r r i e d b y m a n y m a g i c s h o p s . E a c h rattle gaff i s just a
s m a l l p l a s t i c o r m e t a l tube, s l i g h t l y s m a l l e r i n d i a m e t e r t h a n a cigarette,
a b o u t 1 1/2 to 2 i n c h e s i n l e n g t h , w i t h B B ' s i n s i d e . T h e s e s h o u l d s o u n d
l i k e a r a t t l e w h e n s h a k e n . Y o u c a n m o s t l i k e l y f i n d w h a t y o u n e e d to
m a k e t h e rattle gaffs at y o u r n e i g h b o r h o o d h a r d w a r e store. Secure o n e of
t h e r a t t l e gaffs p e r m a n e n t l y i n s i d e t h e t o y s n a k e . T h e easiest w a y t o d o
t h i s i s to p o k e a s m a l l h o l e i n t h e back o f the m o u t h o f the s n a k e (if there
isn't a h o l e there already) a n d g l u e the rattle gaff i n p l a c e

The s o u n d device is one of those n e w electronic g i z m o s that has f r o m

three to eight b u t t o n s o n i t a n d m a k e s s e v e r a l different electronic s o u n d s
s u c h as a m a c h i n e g u n , a n e x p l o d i n g b o m b , a n d a r a y g u n . T h e y a r e
u s u a l l y s o l d as a k e y c h a i n t h a t e a s i l y fits i n y o u r p o c k e t ( F i g u r e 2).
T h e s e c a n b e p u r c h a s e d at m o s t n o v e l t y a n d s o m e c a r d s h o p s . In fact,
m a n y m a g i c s h o p s n o w carry t h e m . D i s c o v e r w h i c h b u t t o n m a k e s the
eeriest s o u n d ( u s u a l l y t h e r a y g u n o r d e a t h r a y ) a n d attach a s m a l l p i e c e
of cork o r s i m i l a r substance to i t w i t h s o m e g l u e or a d a b of magician's
w a x ( F i g u r e 3). T h e object i s to r a i s e t h e h e i g h t o f that b u t t o n so that y o u
c a n e a s i l y p r e s s i t w i t h o u t l o o k i n g at the d e v i c e

T o set u p , t a p e t h e s q u e a k e r gaff i n t h e left c o m e r of t h e o p e n e n d of t h e

c l o t h b a g , t a p e t h e s o u n d d e v i c e i n t h e right c o r n e r o f t h e o p e n e n d o f
the bag, a n d p l a c e the t o y snake, t o y m o u s e , a n d rattle gaff i n s i d e the
bag. B y p l a c i n g the b a g o n the table w i t h its o p e n i n g t o w a r d y o u , y o u
are r e a d y to b e g i n .

B e g i n b y s a y i n g , " In a f e w m o m e n t s I w i l l s h o w y o u a m i s t a k e c r e a t e d
b y M o t h e r N a t u r e . It w a s a f e w y e a r s a g o t h a t a s m a l l u n f o r t u n a t e
creature w a s d i s c o v e r e d to h a v e been b o m w i t h the voice of h i s m o r t a l
e n e m y , t h e r a t t l e s n a k e . " W i t h y o u r right h a n d r e m o v e t h e m o u s e a n d
t h e r a t t l e gaff. H i d e t h e r a t t l e g a f f b e h i n d t h e m o u s e i n a finger p a l m
( F i g u r e 4). S h a k e t h e m o u s e to d e m o n s t r a t e t h e rattle s o u n d a p p a r e n t l y
i n i t . B e c a r e f u l n o t to s q u e e z e i t , c a u s i n g i t t o s q u e a k . Set t h e m o u s e
d o w n o n the t a b l e i n f r o n t of y o u b y t h e right c o m e r of t h e b a g , k e e p i n g
the rattle gaff c o n c e a l e d , a n d quiet, i n y o u r h a n d .

"Now it is k n o w n that M o t h e r N a t u r e m u s t obey the l a w s of the

u n i v e r s e a n d m u s t m a i n t a i n a balance i n nature. Therefore, s o m e w h e r e
o n t h i s p l a n e t e a r t h t h e r e h a d to b e a r a t t l e s n a k e w h i c h w a s b o m w i t h
 t h e v o i c e o f a m o u s e . " R e a c h i n t o t h e b a g , l e a v i n g t h e r a t t l e gaff there,
a n d r e m o v e the s n a k e . H o l d o n to t h e h e a d o f the s n a k e as y o u p l a c e i t
o n t h e table just i n f r o n t o f y o u b y the left c o m e r o f t h e b a g . S q u e e z e i t s
h e a d , b e i n g c a r e f u l n o t t o s h a k e t h e r a t t l e g a f f i n s i d e o f i t , a n d at t h e
s a m e t i m e operate the squeaker gaff i n the b a g w i t h the h e e l of y o u r
r i g h t h a n d ( F i g u r e 5).

" I t i s t h e i r b r a i n w a v e s that c o n t r o l the v o i c e b o x e s of these t w o

u n f o r t u n a t e c r e a t u r e s . In a m o m e n t y o u w i l l w i t n e s s t h e w o r l d ' s f i r s t
s i m u l t a n e o u s t r a n s p o s i t i o n o f b r a i n w a v e s u s i n g t h e science a n d p o w e r
of m a g i c . " P l a c e t h e m a g i c w a n d so that each of i t s e n d s rests o n o n e o f
t h e creatures. Y o u m a y n e e d to a d j u s t t h e p o s i t i o n o f t h e w a n d s l i g h t l y
so that i t w i l l rest w i t h o u t y o u t o u c h i n g i t . C o n t i n u e b y a s k i n g s o m e o n e
to s a y a m a g i c w o r d .

" N o w , as I l i f t t h e w a n d , s o m e p e o p l e c l a i m that t h e y c a n a c t u a l l y h e a r
t h e t r a n s p o s i t i o n o c c u r r i n g . L i s t e n . " S l o w l y raise t h e w a n d u p w a r d w i t h
y o u r left h a n d . W h e n t h e w a n d i s a b o u t t w o i n c h e s a b o v e t h e creatures,
operate the s o u n d d e v i c e w i t h y o u r r i g h t h a n d ( F i g u r e 6).

C o n t i n u e m o v i n g the w a n d a l i t t l e h i g h e r a n d say, " I b e l i e v e the

t r a n s p o s i t i o n h a s s u c c e e d e d . " Place the w a n d aside a n d s h a k e t h e m o u s e
to s h o w t h a t i t n o l o n g e r r a t t l e s a n d t h e n s q u e e z e i t t o s h o w t h a t i t s
rightful voice has been restored. Squeeze the snake to s h o w it n o l o n g e r
s q u e a k s a n d t h e n s h a k e i t to s h o w that i t s v o i c e h a s a l s o b e e n r e s t o r e d .
Y o u c a n n o w l e a v e the w a n d a n d creatures o n the table for e x a m i n a t i o n .

H o m i n g i n : I r e a l l y l i k e t h i s effect, w h i c h i s n o t t o s a y t h a t I d o n ' t l i k e
D a r y l ' s o r i g i n a l effect B o t h are g o o d . Mother Nature's Mistake i s s l i g h t l y
m o r e s e r i o u s , w h e r e a s Audio Transposition is a bit m o r e lighthearted.
Y o u c a n c h e c k o u t Audio Transposition i n Something for Everyone,
Magic Lecture #2 b y D a r y l ( a n d still a v a i l a b l e f r o m h i m , I believe).

I m e n t i o n e d n e a r t h e b e g i n n i n g o f t h e effect t h a t t h e u s e o f t h e s o u n d
d e v i c e i s o p t i o n a l . If y o u w a n t e d t o g o f o r a l i t t l e c o m e d y , y o u c o u l d
m a k e the eerie s o u n d i n g n o i s e w i t h y o u r v o i c e . H o w e v e r , d o n ' t o v e r l o o k
t h e u s e o f t h e s o u n d d e v i c e W h e n I s a w V i c p e r f o r m t h i s , y o u c o u l d see
that the eerie s o u n d i t m a d e c a m e as q u i t e a s u r p r i s e t o h i s a u d i e n c e •

Doug Canning's
DOWN UNDER AGAIN
M L : H e r e i s a n i c e a i m p r o m p t u c a r d effect ( a c t u a l l y it's m o r e of a
routine) f r o m D o u g C a n n i n g of D a l l a s , Texas. D o u g , w h o has been
m a r r i e d a b o u t a y e a r , c l a i m s t h a t h e d o e s m a g i c o n l y as a h o b b y . H i s
w i f e E d i e , h o w e v e r , c l a i m s it's m o r e o f a n o b s e s s i o n (gee, I w o n d e r w h o
w e s h o u l d believe). D o u g has cleverly p u t together a c o u p l e of o l d
p r i n c i p l e s o f c a r d m a g i c i n o r d e r t o f o r m a n e n t e r t a i n i n g r o u t i n e . It's
d e s i g n e d to fool l a y m e n , not m a g i c i a n s . A l t h o u g h D o u g d i d n o t s a y
w h e t h e r o r n o t it f o o l e d E d i e , s h e p r o b a b l y w o u l d n o t l i k e i t , r e g a r d l e s s .
Y o u see, D o u g tells m e s h e h a t e s c a r d tricks.

T h i s effect i s best d o n e w i t h a b o r r o w e d d e c k a n d t h e a s s i s t a n c e o f t w o
or t h r e e s p e c t a t o r s ( a l t h o u g h i t c a n b e d o n e w i t h o n e s p e c t a t o r i n a
p i n c h ) . It r e q u i r e s n o s e t u p , b u t i t d o e s r e q u i r e a f u l l 52 c a r d d e c k ( n o
jokers). If y o u can't f i n d s o m e o n e w i t h s u c h a deck, b e g i n b y h a n d i n g t h e
spectator y o u r d e c k ( h o p e f u l l y it m e e t s t h e r e q u i r e m e n t s ) a n d ask h i m to
s h u f f l e i t . O n c e h e i s finished s h u f f l i n g t h e cards, t a k e the deck back a n d ,
h o l d i n g i t w i t h t h e faces t o w a r d y o u , r u n t h e c a r d s f r o m y o u r left h a n d
to y o u r r i g h t h a n d u n t i l y o u c o m e to t h e first e i g h t ( F i g u r e 1, p r e v i o u s
p a g e ) . C o u n t i n g t h e e i g h t as o n e , c o n t i n u e s p r e a d i n g a n d c o u n t i n g t h e
cards u n t i l y o u reach sixteen. Injog this sixteenth c a r d w i t h y o u r left
t h u m b a n d c o n t i n u e to s p r e a d t h r o u g h t h e r e s t o f t h e d e c k ( F i g u r e 2).
W h i l e y o u are d o i n g this, patter to the effect that y o u are c h e c k i n g to see
i f there are a n y jokers i n t h e d e c k o r i f a l l the c a r d s are t h e r e

T u r n t h e d e c k face d o w n a n d h o l d it i n left h a n d d e a l i n g p o s i t i o n . P u s h
d o w n o n t h e i n j o g g e d c a r d w i t h y o u r right t h u m b , f o r m i n g a break a b o v e
i t . M a i n t a i n t h i s b r e a k w i t h y o u r right t h u m b w h i l e h o l d i n g t h e d e c k i n
y o u r r i g h t h a n d f r o m a b o v e i n B i d d l e p o s i t i o n ( F i g u r e 3). U s e y o u r left
h a n d t o d o u b l e u n d e r c u t a l l t h e c a r d s b e l o w t h e b r e a k to t h e t o p o f t h e
d e c k . T h a t i s , c u t t h e b o t t o m h a l f o f t h e c a r d s b e l o w the b r e a k t o t h e t o p
a n d t h e n cut t h e r e m a i n d e r o f t h e c a r d s b e l o w t h e b r e a k to t h e t o p . T h i s
p l a c e s t h e eight i n a p o s i t i o n sixteen c a r d s f r o m the t o p of t h e d e c k . Y o u
w i l l n o w force the spectator to select the eight.

P l a c e t h e face d o w n d e c k b a c k i n y o u r left h a n d a n d a s k t h e spectator to

c u t o f f a s m a l l p a c k e t o f c a r d s , s a y l e s s t h a n fifteen, a n d to h o l d o n to
t h e m . T h e s p e c t a t o r m u s t c u t o f f fifteen c a r d s o r l e s s f o r t h e f o r c e t o
w o r k . N o w d e a l fifteen c a r d s f r o m t h o s e r e m a i n i n g i n y o u r left h a n d i n
a n o v e r l a p p i n g face d o w n r o w o n t h e t a b l e f r o m y o u r left t o y o u r right
( F i g u r e 4).

A s k t h e spectator to c o u n t o u t l o u d t h e n u m b e r o f cards h e cut a n d p l a c e

t h e m o n t h e table. B e g i n n i n g at t h e r i g h t e n d o f the r o w o f c a r d s o n t h e
t a b l e ( y o u r right), c o u n t to t h e left a n u m b e r o f c a r d s c o r r e s p o n d i n g t o
t h e n u m b e r o f c a r d s t h e s p e c t a t o r c u t . T h a t i s , i f t h e s p e c t a t o r c u t five
c a r d s , y o u w o u l d c o u n t to t h e fifth c a r d f r o m t h e right e n d of t h e t a b l e d
r o w . P u s h t h i s c a r d t o w a r d the s p e c t a t o r ( F i g u r e 5) a n d a s k h i m to l o o k
at i t a n d r e m e m b e r i t T h i s s h o u l d b e t h e eight. A s h e d o e s so, gather u p
t h e c a r d s to t h e right o f the spectator's c a r d (the c a r d s just c o u n t e d ) a n d
place t h e m o n top of the cards i n y o u r left h a n d . L e a v e the cards the
s p e c t a t o r c u t a n d t h e c a r d s r e m a i n i n g f r o m t h e fifteen d e a l t o u t , o n t h e
table m o m e n t a r i l y .

O b t a i n a left l i t t l e finger b r e a k a b o v e t h e b o t t o m c a r d o f the p a c k e t h e l d

i n y o u r l e f t h a n d u s i n g s o m e c l e v e r m a n e u v e r s u c h as a b o t t o m c a r d
b u c k l e o r l i t t l e finger p u l l d o w n . G r a s p t h e d e c k i n B i d d l e p o s i t i o n w i t h
y o u r r i g h t h a n d , l e t t i n g y o u r right t h u m b t a k e o v e r the l i t t l e finger b r e a k
( F i g u r e 6, n e x t p a g e ) . N o w k i c k c u t a s m a l l p a c k e t o f c a r d s f r o m y o u r
right h a n d to y o u r left h a n d ( F i g u r e 7, n e x t page), m a i n t a i n i n g y o u r right
t h u m b break.

W i t h y o u r l e f t t h u m b , s t a r t p u l l i n g c a r d s o f f t h e t o p o f t h e right h a n d
p a c k e t , o n e at a t i m e , o n t o t h e left h a n d p a c k e t . A s k a s e c o n d s p e c t a t o r
to s a y s t o p . W h e n h e d o e s , p l a c e t h e t i p o f y o u r right m i d d l e finger o n
t h e c e n t e r o f t h e s t o p p e d at c a r d (the t o p c a r d of t h e p a c k e t i n y o u r left
h a n d ) a n d p u s h i t f o r w a r d ( F i g u r e 8, n e x t page), o u t j o g g i n g i t f o r a b o u t
h a l f i t s l e n g t h . A s y o u d o so, s i m u l t a n e o u s l y r a i s e b o t h h a n d s to s h o w
h i m the o u r j o g g e d c a r d .

A s t h e c a r d s a r e b r o u g h t to a n u p r i g h t p o s i t i o n , s e c r e t l y a d d t h e c a r d
b e l o w y o u r right t h u m b b r e a k o n t o p o f t h e i n n e r e n d o f t h e o u r j o g g e d
card i n y o u r left h a n d . T h i s a d d e d card s h o u l d be p l a c e d i n a l i g n m e n t
w i t h the cards b e l o w the outjogged c a r d . N o w m o v e y o u r r i g h t h a n d
a w a y f r o m the left h a n d p a c k e t ( F i g u r e 9).

H a v e the second spectator r e m e m b e r the outjogged card. W h i l e the left

h a n d p o r t i o n is still i n an u p r i g h t p o s i t i o n , p u s h this card f l u s h w i t h the
r e s t o f t h e c a r d s i n y o u r l e f t h a n d u s i n g y o u r l e f t i n d e x finger. T h i s
places the second spectator's selection s e c o n d f r o m the t o p o f the left
h a n d packet, w h i l e t h e spectator t h i n k s i t i s o n t o p .

Return the left h a n d packet to a h o r i z o n t a l p o s i t i o n a n d t h u m b off the

t o p card (what the second spectator t h i n k s is h i s selection) a n d p l a c e i t
o n t o p of t h e right h a n d p a c k e t N o w p l a c e the left h a n d p a c k e t o n t o p o f
the t h u m b e d off card. The second spectator s h o u l d believe that h i s c a r d
is b u r i e d , b u t i t i s a c t u a l l y o n t o p .

P l a c e t h e c a r d s i n y o u r right h a n d o n t h e t a b l e a n d h a v e t h e f i r s t
spectator p l a c e h i s selection o n t o p o f i t N o w , u s i n g b o t h h a n d s , g a t h e r
u p t h e c a r d s r e m a i n i n g o n t h e t a b l e ( t h o s e c u t o f f b y t h e first s p e c t a t o r
and the cards r e m a i n i n g f r o m the o r i g i n a l fifteen that w e r e dealt out).
The order y o u gather these cards u p i n is not i m p o r t a n t . W h a t is
i m p o r t a n t i s t h a t y o u g l i m p s e t h e b o t t o m c a r d o f t h i s p a c k e t as y o u
s q u a r e i t u p . L e t ' s a s s u m e t h i s c a r d i s t h e k i n g o f d u b s ( F i g u r e 10, n e x t
page). R e m e m b e r that card a n d place the packet o n t o p of the other
p a c k e t o n t h e table, t h u s a s s e m b l i n g t h e d e c k i n t o o n e p i l e A t t h i s p o i n t
y o u m a y w i s h to t h r o w i n a f a l s e c u t o r f a l s e s h u f f l e , o r , w h a t t h e h e c k ,
m a y b e a c o u p l e o f each.

Pick u p the deck a n d ask a third spectator, or one of the first t w o

spectators, to n a m e a n y c a r d other t h a n one of the t w o selected c a r d s .
E x p l a i n that y o u w i l l deal t w o piles of cards, each h a v i n g a n u m b e r of
cards equal to the n u m b e r of letters i n the n a m e d c a r d . F o r e x a m p l e ,
s u p p o s e t h e spectator n a m e s t h e t w o o f h e a r t s . S p e l l t-w-o-o-f-h-e-a-r-t-s
as y o u d e a l o n e c a r d f o r each letter i n t o a p i l e R e p e a t t h e s p e l l i n g a n d
d e a l i n g t o form a s e c o n d p i l e P l a c e the r e m a i n d e r o f the d e c k a s i d e

U s e t h e magician's f o r c e o n o n e o f t h e s p e c t a t o r s i n o r d e r t o h a v e t h e
s e c o n d p i l e selected. P i c k u p t h e s e c o n d p i l e a n d p l a c e t h e first p i l e o n
t o p o f t h e r e m a i n d e r o f t h e d e c k . A s k t h e first t w o s p e c t a t o r s , " B y t h e
w a y , d i d e i t h e r o f y o u h a p p e n t o select t h e V Fill i n the blank
w i t h the n a m e of the card g l i m p s e d p r e v i o u s l y , i n this case the k i n g of
d u b s . They, of course, w i l l b o t h say n o . C o n t i n u e b y s a y i n g , " That's
f u n n y . E v e r y time 1 d o t h i s trick, t h e k i n g o f d u b s a l w a y s s h o w s u p . "

A s k the first spectator for the n a m e of h i s selection a n d d o an

u n d e r / d o w n elimination deal w i t h the second p i l e That is, deal the top
c a r d to t h e b o t t o m o f t h e p i l e , t h e n d e a l t h e n e w t o p c a r d t o t h e d e c k o n
t h e t a b l e . R e p e a t d e a l i n g a c a r d t o t h e b o t t o m t h e n a c a r d to t h e d e c k
u n t i l y o u a r e h o l d i n g o n l y o n e c a r d . R e v e a l i t t o b e t h e first s p e c t a t o r ' s
selection (the eight y o u forced). P l a c e i t face u p o n the t a b l e

A s k the second spectator, " A r e y o u sure y o u d i d not s d e c t the k i n g of

d u b s ? " After he answers no, continue b y asking, " W a s y o u r card i n any
w a y r d a t e d to t h e first s d e c t i o n ? " W i t h s o m e p r o m p t i n g f r o m y o u , t h e
s e c o n d spectator m i g h t r e s p o n d , f o r e x a m p l e , that i t w a s t h e s a m e c o l o r
or s a m e s u i t . R e g a r d l e s s o f h i s a n s w e r , say, " L e t ' s u s e t h e v a l u e o f t h e
first s d e c t i o n , i n t h i s c a s e a n d g h t , to c o u n t d o w n i n t o t h e d e c k . " P i c k
u p t h e d e c k a n d d e a l s e v e n c a r d s , o n e at a t i m e , o n t h e t a b l e A s k t h e
s e c o n d spectator for t h e n a m e o f h i s s d e c t i o n a n d t u r n o v e r t h e t o p c a r d
o f d e c k to r e v e a l i t . T h e n p l a c e i t o n t h e t a b l e n e x t to t h e first spectator's
selection.

D r o p the deck o n top of the seven cards dealt. T h e n t u r n the t w o

s e l e c t i o n s f a c e d o w n a n d p l a c e t h e m to t h e b o t t o m o f t h e d e c k . A t t h i s
p o i n t the spectators s h o u l d t h i n k that y o u h a v e c o m p l e t e d the effect, b u t
c o n t i n u e b y s a y i n g , " I w o u l d l i k e to t r y one m o r e t h i n g . " H a v e a
spectator (the t h i r d spectator i f y o u h a d a t h i r d one) r e m o v e a n y f o u r
c a r d s f r o m t h e f a c e d o w n d e c k , m a k i n g s u r e h e does n o t r e m o v e a n y o f
the b o t t o m n i n e c a r d s . H a v e h i m t u r n t h e m face u p i n a r o w o n t h e table
( F i g u r e 11).

E x p l a i n that y o u w i l l " b u i l d " each p i l e to ten, w i t h picture cards

c o u n t i n g as t e n . T h a t i s , f o r e a c h c a r d , y o u u s e i t s v a l u e a n d d e a l c a r d s
o n t o i t b e g i n n i n g w i t h t h e n e x t h i g h e r v a l u e u n t i l y o u r c o u n t reaches ten.
F o r e x a m p l e , i f o n e of t h e c a r d s w a s a s e v e n , y o u w o u l d d e a l three c a r d s
o n i t , o n e c a r d at t h e c o u n t o f eight, a s e c o n d at t h e c o u n t o f n i n e , a n d a
t h i r d at t h e c o u n t o f t e n . S i n c e p i c t u r e c a r d s c o u n t as t e n , n o c a r d s are
dealt o n t h e m . In t h i s m a n n e r , " b u i l d " each o f the f o u r c a r d s to ten.

A f t e r that h a s b e e n d o n e , t o t a l u p t h e v a l u e o f t h e o r i g i n a l f o u r face u p
cards. W h a t e v e r that total i s , c o u n t that far d o w n i n the deck a n d t u r n
o v e r t h e c a r d at t h e p o s i t i o n c o r r e s p o n d i n g to t h e total. It w i l l b e t h e k i n g
o f c l u b s ( o r w h a t e v e r c a r d y o u g l i m p s e d e a r l i e r ) ( F i g u r e 12). E n d b y
s a y i n g , " I k n e w that t h e k i n g o f c l u b s w o u l d t u r n u p s o o n e r o r l a t e r . "

H o m i n g i n : I r e a l l y l i k e t h e w a y t h i s r o u t i n e i s p u t together. I e s p e c i a l l y
l i k e t h e p a r t w h e r e t h e t h i r d spectator n a m e s a n y c a r d a n d the t w o p i l e s
are d e a l t a c c o r d i n g t o t h e n u m b e r of letters i n t h e n a m e d c a r d . H o w e v e r ,
it o n l y w o r k s w i t h cards that s p e l l w i t h fourteen letters or less. That
l e a v e s f o u r c a r d s that w i l l n o t w o r k - t h e three, s e v e n , eight, a n d q u e e n
o f d i a m o n d s ( F i g u r e 13). If o n e o f t h e s e i s n a m e d , I j u s t e l i m i n a t e t h e
" o f " d u r i n g the s p e l l i n g .

D a n p r e s e n t s t h i s r o u t i n e a tittle d i f f e r e n t l y . W h e n i n i t i a l l y r u n n i n g
t h r o u g h t h e c a r d s i n o r d e r t o f i n d t h e first e i g h t , h e a l s o n o t e s t h e
injogged card. H e then says s o m e t h i n g like, " M a g i c i a n s don't n o r m a l l y
t e l l w h a t t h e y are g o i n g t o d o i n a d v a n c e , b u t I a m g o i n g t o tell y o u that
I a m g o i n g to influence someone i n t o selecting the H e fills i n
the b l a n k w i t h t h e n a m e o f t h e i n j o g g e d c a r d .

T h e r o u t i n e t h e n p r o c e e d s as d e s c r i b e d w i t h t h e f o l l o w i n g c o u p l e o f
a d d i t i o n s . W h e n t h e first s p e c t a t o r c o u n t s t h e n u m b e r o f c a r d s h e c u t ,
m a k e s u r e h e d e a l s t h e c a r d s o n e at a t i m e i n t o a p i l e o n t h e table as h e
c o u n t s . T h i s w i l l p u t t h e p r e v i o u s l y n o t e d i n j o g g e d c a r d at t h e b o t t o m o f
t h i s p i l e . A l s o , w h e n y o u g a t h e r t h e c a r d s c u t o f f b y t h e first s p e c t a t o r
a n d t h e c a r d s r e m a i n i n g f r o m t h e o r i g i n a l fifteen that w e r e dealt o u t o n
t h e table, t h e n o t e d c a r d m u s t b e the b o t t o m c a r d after y o u a s s e m b l e a n d
s q u a r e t h e m . T h a t i s , p l a c e t h e c a r d s r e m a i n i n g f r o m t h e o r i g i n a l fifteen
o n t o p o f t h e c u t off c a r d s . T h e r e i s n o n e e d to g l i m p s e the b o t t o m c a r d
of this packet, since it is the p r e v i o u s l y noted injogged card. D a n ends
the r o u t i n e b y s a y i n g , " I k n e w s o m e o n e w o u l d e v e n t u a l l y select the
(name the noted card)."

I w o n ' t tell y o u w h i c h p r e s e n t a t i o n I l i k e better. A c t u a l l y , I l i k e t h e m b o t h

(I s h o u l d h a v e b e e n a p o l i t i c i a n ) . G i v e i t a t r y b o t h w a y s a n d d e c i d e f o r
y o u r s e l f . Y o u m i g h t e v e n d r o p u s a l i n e to l e t u s k n o w w h i c h w a y y o u
l i k e better. T r y i t , a n d m a y b e y o u l l e v e n f o o l s o m e m a g i c i a n s . ^
Gazzo's
FOLDING KNIFE
D H A q u i c k g l a n c e at t h e i l l u s t r a t i o n s o n t h e left s h o u l d t e l l y o u to p u t
d o w n y o u r c a r d s , g o t o t h e k i t c h e n , a n d get a t a b l e k n i f e a n d a c l o t h
n a p k i n (the k i n d y o u s a v e f o r c o m p a n y ) . E q u i p p e d w i t h t h e s e s i m p l e
i t e m s , y o u c a n l e a m to p e r f o r m a n a m u s i n g s t u n t t h a t w a s s h o w n t o m e
b y a m a g i c i a n w i t h the u n u s u a l m o n i c k e r of G a z z o . Y e p , that/s h i s n a m e ,
a n d h e m a k e s h i s l i v i n g p e r f o r m i n g street m a g i c i n B o s t o n .

M e e t i n g G a z z o a n d seeing h i s s o m e w h a t boisterous a n d riotous style of

p e r f o r m i n g i s a n e x p e r i e n c e n o t t o b e m i s s e d . H e r e i s s o m e t h i n g of h i s
w i t h m o r e of a r e l a x e d p a c e t o i t So, i f y o u ' r e b a c k f r o m t h e k i t c h e n , l e f s
get started.

B e g i n b y s p r e a d i n g the n a p k i n o u t flat o n the t a b l e a n d p l a c i n g t h e k n i f e

n e a r t h e e d g e o f t h e n a p k i n f a r t h e s t a w a y f r o m y o u ( F i g u r e 1). E x p l a i n
that s o m e people occasionally try to sneak silverware o u t of restaurants
w r a p p e d i n a n a p k i n . A s y o u say this, begin r o l l i n g the n a p k i n a r o u n d
the k n i f e b y f o l d i n g the far edge of t h e n a p k i n o v e r i t ( F i g u r e 2). T h i s w i l l
h i d e the k n i f e f r o m v i e w .

G r a s p the knife t h r o u g h the cloth w i t h y o u r fingertips to a p p a r e n t l y

c o n t i n u e r o l l i n g i t i n the n a p k i n . In a c t u a l i t y , h o w e v e r , release y o u r g r a s p
o n the k n i f e , a l l o w i n g it to s l i d e t o w a r d y o u a b o u t a n i n c h , a n d
i m m e d i a t e l y f o l d the n o w e m p t y p o r t i o n of the n a p k i n o v e r the k n i f e
( F i g u r e 3). C o n t i n u e t h i s s l i d i n g a n d f o l d i n g p r o c e d u r e u n t i l a b o u t h a l f o f
t h e n a p k i n i s u s e d . T h e n p i c k u p the " w r a p p e d " k n i f e a n d r a p i t o n t h e
table ( F i g u r e 4) as y o u r e m a r k a b o u t h o w i t i s p r o t e c t e d b y the n a p k i n .

P l a c e the n a p k i n b a c k o n the table i n t h e s a m e p o s i t i o n i t w a s i n p r i o r t o

p i c k i n g i t u p a n d c o n t i n u e the s l i d i n g a n d f o l d i n g p r o c e d u r e u n t i l o n l y a
c o u p l e of i n c h e s of n a p k i n r e m a i n . N o w a p p a r e n t l y p i c k u p the
" w r a p p e d " k n i f e a g a i n , e x c e p t t h i s time a l l o w t h e k n i f e t o s e c r e t l y s l i p
o u t o f t h e n a p k i n a n d f a l l o n t o y o u r l a p ( F i g u r e 5). R a i s e t h e e m p t y
n a p k i n to eye level, h o l d i n g it h o r i z o n t a l l y , a n d give it one m o r e t u r n to
c o m p l e t e the r o l l i n g

M e n t i o n t h a t i t w o u l d b e d i f f i c u l t t o s n e a k s o m e t h i n g as l o n g as a k n i f e
out of a restaurant, but that is w h e r e being a m a g i c i a n helps. A s y o u
f i n i s h this comment, f o l d the n a p k i n i n half lengthwise a n d place it i n
y o u r pocket. N o w sit back, relax, s m i l e , a n d w a i t f o r y o u r s p e c t a t o r s '
reactions.

H o m i n g i n : O f course it is not necessary to reproduce the knife, but if

y o u w i s h to d o so, s i m p l y p i c k i t u p w i t h y o u r l e f t h a n d as y o u sit b a c k ,
s l i d e y o u r left h a n d a n d k n i f e u p u n d e r y o u r coat, a n d p r e t e n d to p u l l
the k n i f e o u t f r o m u n d e r y o u r coat w i t h y o u r l e f t h a n d . F o r s o m e t h i n g a
l i t t l e m o r e b i z a r r e , as y o u p i c k u p t h e k n i f e w i t h y o u r l e f t h a n d , r a i s e
y o u r right h a n d s l i g h t l y . T h e n , as y o u m o t i o n w i t h y o u r right h a n d ,
q u i c k l y place y o u r left h a n d a n d k n i f e u n d e r y o u r right a r m p i t a n d
s l o w l y w i t h d r a w t h e k n i f e as i f it h a d b e e n there a l l the time

D o n e c a s u a l l y a n d i n an o f f h a n d m a n n e r , this effect can be v e r y

d i s a r m i n g . S o h a v e s o m e f u n w i t h i t H e y , y o u m i g h t e v e n t h i n k of w a y s
to a p p l y t h i s r o l l i n g i n c l o t h i d e a t o o t h e r objects a n d s i t u a t i o n s . *
 FROM THE LABYRINTH
M L : W h a t ' s h o t l a t e l y ? W e l l , o n e t h i n g that a p p e a r s to be h o t i s " m a g i c "
r a d i o s t a t i o n s . It s e e m s that e v e r y c i t y I v i s i t h a s one. N o , i t s n o t a r a d i o

THE MINOTAUR s t a t i o n t h a t d i s a p p e a r s w h e n i t s r a t i n g s d r o p . Its o n e o f t h o s e w i t h t h e

c a t c h y c a l l l e t t e r s that w o u l d b e p r o n o u n c e d " m a g i c " i f y o u u s e d y o u r
"Half Bull, Half Magic" i m a g i n a t i o n . There's W M G C (the " W " i s s i l e n t , y o u fill i n t h e v o w e l s ) ,
M a r v Leventhal W M A G (I g u e s s t h e y d i d n ' t l i k e " m a g n o l i a " r a d i o ) , a n d , o f c o u r s e ,
Editor-in<Zhief h o m e t o w n favorite W M J I (like I said, use y o u r imagination), w h i c h
serves the C l e v e l a n d area.
Dan Harlan
Creative G e n i u s & Illustrator
In t h e p a s t , W M J I h a s r a r e l y m a d e u s e o f m a g i c i n a n y w a y , s h a p e , o r
f o r m , e v e n t h o u g h i t w o u l d be a n a t u r a l t i e - i n . N o w , o n e c o u l d e a s i l y
Subscriptions: T H E M I N O T A U R is
p u b l i s h e d at least quarterly or four times speculate w h y this is so, but that i s n o t w h y I b r o u g h t the subject u p .
a year, whichever comes first (more often A c c o r d i n g to a m a g i c i a n f r i e n d , the m a g i c d r o u g h t o n W M J I m i g h t be
if w e feel u p to it). Single issues are $5.00. o v e r . H e t h e n r e l a t e d to m e the f o l l o w i n g s t o r y . H o w e v e r , before I relate
Y o u can save yourself a couple of bucks i t to y o u , let m e set the stage a l i t t l e .
b y s u b s c r i b i n g . A one year subscription
(four issues) is $18.00. M a k e y o u r check A c o u p l e o f m o n t h s a g o , s o m e o n e at W M J I h a d t h e b r i g h t i d e a o f
or m o n e y o r d e r p a y a b l e to T H E s i m u l c a s t i n g its m o r n i n g w a k e - u p r a d i o p r o g r a m o n the l o c a l television
M I N O T A U R and mail it to: station that broadcasts the H o m e S h o p p i n g C l u b . W h a t an interesting
concept! N o , the m o r n i n g disk jockey doesn't sell cubic zirconias.
THE MINOTAUR
N o t h i n g t h a t m u n d a n e . T h e v i e w i n g p u b l i c i s treated t o s e e i n g t h e d i s k
P . O . B o x 25
jockey, n e w s m a n , a n d sports g u y l a u g h i n g it u p i n the studio until the
B r e c k s v i l l e , O H 44141-0025
H o m e S h o p p i n g C l u b c o m e s o n at 10:00 a . m . P r e t t y e x c i t i n g , eh? W e l l ,
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S u b m i s s i o n s : Y o u r editorial submissions
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( t r i c k s , bits of business, essays,
comments, anecdotes, fan m a i l , etc., a n d e n t e r t a i n m e n t p l e a s u r e , t h e y h a v e e v e n g o n e to the t r o u b l e o f p r o d u c i n g
m a g i c a l r a m b l i n g s i n general) are not a f e w o f t h e i r o w n v i d e o s to a c c o m p a n y s o m e c o m e d y r e c o r d s , j u s t l i k e
o n l y welcome, but encouraged i n order to " W e i r d " A l Y a n k o v i c does.
a s s u r e t h e f u t u r e v i a b i l i t y of t h i s fine
p u b l i c a t i o n . Y o u r s u b m i s s i o n s w i l l be This is where m y friend's story begins. O n e m o r n i n g he innocently
returned if a self-addressed, stamped h a p p e n e d to t i m e i n t o t h e H o m e D i s k J o c k e y C l u b a n d s a w o n e o f t h o s e
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P e r m i s s i o n s : N o part of this publication
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m a y be reproduced, i n a n y form, b y any
m a g i c i a n . A n d w h a t w a s t h i s m a g i c i a n d o i n g i n t h i s v i d e o ? W e l l , 111 t e l l
m e a n s , be i t e l e c t r o n i c , m e c h a n i c a l ,
y o u . H e w a s p e r f o m i n g n o n e other than needle t h r o u g h balloon. N o t the
p h o t o c o p y i n g , or even a p e n c i l w i t h o u t
w h o l e r o u t i n e m i n d y o u , just the part w h e r e the needle penetrates the
the written permission of D a n and M a r v .
In a d d i t i o n , t h e m a n u f a c t u r i n g a n d balloon.
commercial rights for a l l items contained
herein are reserved by their contributors M y f r i e n d c o u l d n o t u n d e r s t a n d h o w n e e d l e t h r o u g h b a l l o o n fit i n t o t h i s
and T H E M I N O T A U R . v i d e o . S i n c e I d i d n ' t see the v i d e o , I w a s at s o m e w h a t o f a l o s s to e x p l a i n
i t m y s e l f . A f t e r m u l l i n g i t o v e r f o r a w h i l e , I c a l l e d D a n to see i f h e c o u l d
Advertising: W r i t e to T H E M I N O T A U R s h e d s o m e l i g h t o n t h e m a t t e r . I n s i g h t f u l as D a n i s , h e s a i d i t w a s
f o r a d v e r t i s i n g i n f o r m a t i o n . Please be o b v i o u s — the v i d e o w a s a p o l k a , a n d the m a g i c i a n w a s p o l k a - i n g the
s u r e to i n c l u d e a t e l e p h o n e n u m b e r n e e d l e t h r o u g h t h e b a l l o o n . H o w c o u l d I h a v e b e e n so b l i n d n o t to h a v e
where y o u can be reached
seen the r e l a t i o n s h i p ?

THE MINOTAUR
W e l l , W M J I just recently f i n i s h e d its r u n o n television and for some
Copyright 1989
by M a r v i n J. Leventhal r e a s o n w a s n o t r e n e w e d . I d o n ' t m e a n to s o u n d l i k e I'm g e t t i n g d o w n o n
& Daniel D . Harlan W M J I . I l i s t e n to i t q u i t e o f t e n , a n d t h e m o r n i n g d i s k j o c k e y i s a c t u a l l y
A l l Rights Reserved q u i t e e n t e r t a i n i n g . It's just that t h e w h o l e scenario of s i m u l c a s t i n g a r a d i o
Printed i n the U . S A . s h o w o n t e l e v i s i o n , a n d o n t h e H o m e S h o p p i n g C l u b ' s s t a t i o n at that,
9/89-4 s t r u c k m e as k i n d o f s t r a n g e . T h r o w i n t h e " fine" u t i l i z a t i o n o f m a g i c ,
a n d y o u h a v e a f a i r l y b i z a r r e i m a g e . W h e n y o u t h i n k a b o u t it, m a y b e the
m a g i c c o m m u n i t y w a s better off w h e n W M J I d i d n ' t u s e m a g i c . •
 THE
INDTAUR
!
M1LF BULL, H A L F MAMIE"
C o p y r i g h t 1989 b y M a r v i n J . L e v e n t h a l & D a n i e l D . H a r l a n D e c e m b e r 1989 / $5.00

Dick Cook's
TWILIGHT'S LAST
GLEAMING M L : A h , b e a u t i f u l B r e c k s v i l l e , O h i o . It's h o m e t o T H E M I N O T A U R , a n d
it's a l s o t h e h o m e o f D i c k C o o k . In r e a l l i f e D i c k i s a n o p t o m e t r i s t I g u e s s
if y o u can't see h o w a t r i c k i s d o n e , h e ' d b e t h e o n e t o contact. W h o
k n o w s , m a y b e i t h e l p s h i m to keep others f r o m seeing t h r o u g h h i s
effects. ( O k a y , s o t h e y ' r e l o u s y p l a y s o n w o r d s , b u t I c o u l d n t r e s i s t J u s t
be grateful y o u d o n ' t h a v e to r e a d t h e o n e s D a n a n d I d i d n t u s e )

D i c k i s a r e g u l a r at t h e F F F F C o n v e n t i o n , a n d I t h i n k i t w a s t h e r e t h a t I
f i r s t s a w h i m p e r f o r m t h i s effect. It's h i s v e r s i o n o f a J o h n B a n n o n effect
c a l l e d Heaven's Gate f r o m t h e J u n e 1 9 8 7 i s s u e o f The Linking Ring
w h e r e a m i r r o r is used to produce, transform, a n d v a n i s h several coins.
B o t h o f t h e s e h a v e t h e i r r o o t s i n P a u l H a r r i s ' Twilight. W h a t D i c k h a s
d o n e i s t a k e n J o h n ' s effect, c h a n g e d s o m e o f t h e m e t h o d s , a n d r e w o r k e d
the m o v e s d o n e b e h i n d t h e m i r r o r t o m a k e t h e m m o r e o p e n .

A s w i t h J o h n ' s effect, t h i s v e r s i o n i s g a f f e d t o t h e h i l t (gee, s o u n d s l i k e a

g o o d n a m e f o r a b o o k ) . Y o u w i l l n e e d a H o p p i n g H a l f set o f c o i n s . If y o u
d o n ' t o w n t h i s set o f c o i n s , d o n ' t p a n i c Y o u m a y h a v e t h e r e q u i r e d c o i n s
f r o m other g i m m i c k e d coin tricks y o u already o w n . Here's w h a t y o u w i l l
n e e d : 1) a n e x p a n d e d h a l f d o l l a r s h e l l , 2 ) a S u n & M o o n c o i n , w h i c h
consists of a copper/silver insert ( E n g l i s h p e n n y o n o n e s i d e half d o l l a r
o n t h e o t h e r ) w i t h a n E n g l i s h p e n n y s h e l l t h a t fits o v e r i t , a n d 3) a n
e x p a n d e d E n g l i s h p e n n y s h e l l m a t fits o v e r t h e S u n & M o o n c o i n . F o r
c l a r i t y , I w i l l r e f e r t o t h e H o p p i n g H a l f p i e c e p a r t s a s 1) t h e s i l v e r s h e l l ,
2) t h e c/s i n s e r t a n d t h e s m a l l c o p p e r s h e l l , a n d 3) t h e l a r g e c o p p e r s h e l l .
Y o u w i l l also need a copper/silver coin ( E n g l i s h p e n n y o n one side, h a l f
d o l l a r o n t h e o t h e r ) . T h i s w i l l b e r e f e r r e d t o as t h e c/s c o i n , as o p p o s e d

1 Gone Rshin' 7

N 8
S
I 10
i
N o w U Z It 13
D
E 16
 to the s m a l l e r c/s i n s e r t that i s p a r t of the S u n & M o o n c o i n .

L a s t l y , y o u w i l l n e e d a m i r r o r . D i c k u s e s a $1.97 ( p l u s sales tax) car s u n

v i s o r m i r r o r that c o m e s i n a p l a s t i c f r a m e , w h i c h h e p u r c h a s e d at a m a j o r
d i s c o u n t d e p a r t m e n t store. H e just s n a p p e d off a c o u p l e of plastic tabs
on the frame, so the m i r r o r w o u l d s l i d e out, a n d r o u n d e d the m i r r o r ' s
s h a r p c o m e r s . D i c k ' s m i r r o r m e a s u r e s 3 1 / 2 i n c h e s b y 5 1/2 i n c h e s .

T h i s effect ( a c t u a l l y a w h o l e r o u t i n e ) i s best p e r f o r m e d o n a s u r f a c e w i t h
s o m e g i v e to i t , l i k e , s a y , a c l o s e - u p m a t . Y o u m a y p r e f e r to p e r f o r m i t
s e a t e d at a t a b l e , b u t i t ' s n o t a b s o l u t e l y n e c e s s a r y ( w h i c h m e a n s t h e
routine does not require a n y l a p p i n g - yippee!). A l l explanations w i l l be
g i v e n f r o m t h e p e r f o r m e r ' s p e r s p e c t i v e . S o to b e g i n , p l a c e y o u r m a t o n
the table, m i r r o r o n i t s c e n t e r ( s h i n y s i d e u p ) w i t h a p p a r e n t l y t w o c o i n s ,
a c o p p e r a n d a s i l v e r , to the left of the m i r r o r ( f i g u r e 1, p r e v i o u s page).
3
T h e t w o c o i n s s h o u l d be set u p i n a d v a n c e as f o l l o w s : t h e s i l v e r c o i n i s
a c t u a l l y t h e c/s c o i n , c o p p e r s i d e u p , w i t h t h e s i l v e r s h e l l o v e r i t ; t h e
c o p p e r c o i n i s a c t u a l l y the s m a l l c o p p e r s h e l l o n the b o t t o m w i t h the c/s
insert nested i n it copper side u p (thus f o r m i n g the S u n & M o o n coin),
w i t h t h e l a r g e c o p p e r s h e l l o v e r the S u n & M o o n c o i n .

B y w a y of i n t r o d u c t i o n say, " I'd l i k e to s h o w y o u s o m e t h i n g I c a l l

Twilight's Last Gleaming. There's t w o versions - an A m e r i c a n v e r s i o n
a n d a B r i t i s h v e r s i o n . I H d o t h e A m e r i c a n v e r s i o n first. T h e A m e r i c a n
v e r s i o n is d o n e w i t h a half d o l l a r a n d a m i r r o r , a n d it goes l i k e this. Let
m e s h o w y o u a n effect w i t h a m i r r o r a n d a fifty cent p i e c e " A s y o u s a y
t h i s l a s t sentence, p i c k u p the s i l v e r c o i n w i t h y o u r right h a n d a n d f l a s h
b o t h sides of it, as y o u r left h a n d p i c k s u p the m i r r o r at o n e o f its c o m e r s
a n d t w i r l s i t a r o u n d ( f i g u r e 2, p r e v i o u s page) to s h o w b o t h sides o f it.
4

C o n t i n u e b y s a y i n g , " I f I take the h a l f d o l l a r a n d p u t i t i n front of the

m i r r o r , e v e r y t h i n g l o o k s n a t u r a l . " M a t c h i n g y o u r a c t i o n s to y o u r w o r d s ,
w o r k t h e s i l v e r c o i n i n t o c l a s s i c p a l m p o s i t i o n i n y o u r p a l m u p right
h a n d , silver shell against y o u r p a l m , a n d d i s p l a y it briefly. Place the
m i r r o r v e r t i c a l l y o n t h e m a t , i t s l o n g e d g e r u n n i n g l e f t a n d right (as i t
a l w a y s w i l l d u r i n g this routine), so that the s h i n y side is f a c i n g y o u r
a u d i e n c e (as i t a l w a y s w i l l d u r i n g t h i s r o u t i n e ) . Y o u r left h a n d h o l d s the
m i r r o r at i t s u p p e r l e f t c o m e r . T i l t t h e t o p e d g e o f t h e m i r r o r s l i g h t l y
t o w a r d y o u , as y o u a p p a r e n t l y p l a c e the s i l v e r c o i n i n f r o n t of the m i r r o r .
W h a t y o u actually d o is turn y o u r right h a n d p a l m d o w n , classic
p a l m i n g the s i l v e r s h e l l as y o u a l l o w the c/s c o i n t o f a l l o n t o y o u r c u r l e d
fingers, s i l v e r s i d e a g a i n s t y o u r fingers ( f i g u r e 3). N o w p l a c e y o u r right
r h u m b o n the c/s c o i n , s t r a i g h t e n y o u r right fingers, t u r n y o u r r i g h t h a n d
so y o u r fingers are p a r a l l e l to the f l o o r ( t h u s t u r n i n g the c o i n o v e r ) , a n d
p l a c e t h e c/s c o i n , n o w s i l v e r s i d e u p , d i r e c t l y i n f r o n t of the m i r r o r .

T a k e h o l d o f t h e m i r r o r at i t s u p p e r right c o r n e r w i t h y o u r right h a n d ,
w h i l e m a i n t a i n i n g y o u r left h a n d g r i p , a n d tilt the m i r r o r to v e r t i c a l
a g a i n as y o u s a y , " H o w e v e r , i f I tilt t h e m i r r o r s l i g h t l y f o r w a r d , y o u get
an i l l u s i o n of there b e i n g t w o coins. B u t that coin i n the m i r r o r is not
r e a l ; it's j u s t a n i l l u s i o n , b e c a u s e w a t c h w h a t h a p p e n s i f I tilt the m i n o r
b a c k w a r d a n d p u l l it a w a y . That c o i n d i s a p p e a r s . " In the process of
t i l t i n g the m i r r o r b a c k w a r d a n d p u l l i n g it a w a y , y o u w i l l l o a d the c l a s s i c
p a l m e d s i l v e r s h e l l b e h i n d the m i r r o r as f o l l o w s .

W i t h y o u r l e f t h a n d , tilt t h e t o p of t h e m i r r o r t o w a r d y o u u n t i l i t s t o p
e d g e i s s e p a r a t e d f r o m t h e m a t b y o n l y y o u r r i g h t t h u m b . H o w e v e r , as
 y o u t i l t t h e m i r r o r , s l i d e y o u r right h a n d d o w n t h e right s i d e o f t h e
m i r r o r , f i n g e r s i n f r o n t , t h u m b i n b a c k , u n t i l y o u r right t h u m b a n d
f i n g e r s rest a l m o s t flat o n the m a t a n g l e d a b o u t 45° to the l e f t ( F i g u r e 4,
p r e v i o u s page). N o w , s l i d e the m i r r o r b a c k t i g h t l y i n t o the f o r k of y o u r
right t h u m b as y o u d r o p the s i l v e r s h e l l f r o m the c l a s s i c p a l m o n t o the
m a t ( F i g u r e 5, p r e v i o u s p a g e ) . C o n t i n u e b y s l i d i n g b o t h h a n d s a n d t h e
m i r r o r to the right u n t i l the t i p of y o u r right t h u m b rests j u s t to the right
of t h e s i l v e r s h e l l ( F i g u r e 6). A l l t h e s e a c t i o n s s h o u l d b e d o n e i n o n e
continuous motion.

" But, i f I tilt the m i r r o r f o r w a r d l i k e this, p u t a finger i n the f r o n t a n d m y

t h u m b i n the back, a n d m o v e t h e m b a c k a n d f o r t h l i k e t h i s , y o u get the
i l l u s i o n of there b e i n g t w o c o i n s . " R a i s e the m i r r o r to v e r t i c a l , p l a c e y o u r
r i g h t t h u m b o n the right edge of the s i l v e r s h e l l , a n d s l i d e the m i r r o r a n d
the s h e l l d i r e c t l y b e h i n d the c/s c o i n . N o w p l a c e y o u r right i n d e x f i n g e r
o n the c/s c o i n a n d y o u r r i g h t t h u m b o n the s h e l l ( F i g u r e 7) a n d s l i d e t h e
t w o coins left a n d right a c o u p l e of times.

" B u t , i f I s l o w l y p u l l the m i n o r a w a y l i k e this, i l l u s i o n b e c o m e s r e a l i t y . "

S l o w l y s l i d e the m i r r o r to the l e f t to r e v e a l t h e t w o c o i n s a n d g i v e t h e
m i r r o r a t w i r l w i t h y o u r left h a n d . N o w m o v e the m i r r o r o u t of the w a y
a n d s l i d e the t w o s i l v e r coins o v e r t o w a r d the left edge of the m a t .
C o m p l e t e the A m e r i c a n v e r s i o n b y g e s t u r i n g t o w a r d the s i l v e r s h e l l a n d
s a y i n g , " Y o u s h o u l d n ' t e v e n t o u c h t h i s c o i n t h o u g h , b e c a u s e it's j u s t a n
i l l u s i o n . " This s h o u l d h e l p plant the thought i n y o u r audience's m i n d
that t h e y s h o u l d n ' t t o u c h the coins.

" N o w let m e s h o w y o u the B r i t i s h v e r s i o n , w h i c h i s a l o t better. It g o e s

l i k e t h i s . H e y b l o k e , let m e s h o w y o u a b l o o d y t r i c k w i t h a p e n c e a n d a
l o o k i n g g l a s s . If I t a k e t h e b l o o d y p e n c e a n d p u t i t b e h i n d t h e l o o k i n g
glass, it's i n v i s i b l e " A s i n the A m e r i c a n v e r s i o n , p i c k u p the c o p p e r c o i n
i n y o u r right h a n d a n d f l a s h b o t h sides of it as y o u t w i r l the m i r r o r w i t h
y o u r left h a n d . T h e n p l a c e the c o i n i n the center of the m a t , l a r g e c o p p e r
s h e l l s i d e u p , a n d the m i r r o r v e r t i c a l l y o n the m a t i n f r o n t of the c o i n .

S l i d e the m i r r o r t o the left to g i v e y o u r s p e c t a t o r s a n o t h e r q u i c k l o o k at

the c o p p e r c o i n . T h e n s l i d e t h e m i r r o r b a c k i n f r o n t o f i t . H o w e v e r , as
y o u s l i d e the m i r r o r , the i n s t a n t the c o i n i s o u t of y o u r a u d i e n c e ' s v i e w ,
lift u p o n the l a r g e c o p p e r s h e l l w i t h y o u r r i g h t h a n d a n d p l a c e i t i n f r o n t
of t h e m i r r o r o p p o s i t e t h e c o i n o n y o u r s i d e of the m i r r o r . A c c o m p a n y
these a c t i o n s b y s a y i n g , " B u t , i f y o u t a k e i t a n d p u t i t f o r w a r d l i k e t h i s ,
y o u get the i l l u s i o n of there b e i n g t w o c o i n s . "

" H o w e v e r , i f y o u p u t a f i n g e r i n t h e f r o n t a n d y o u r t h u m b i n the b a c k
a n d s l o w l y s l i d e the l o o k i n g glass a w a y , i l l u s i o n b e c o m e s r e a l i t y , a n d a
second coin materializes." A s i n the A m e r i c a n v e r s i o n , m a t c h y o u r
a c t i o n s to y o u r w o r d s to r e v e a l the t w o c o i n s a n d g i v e the m i r r o r a t w i r l
w i t h y o u r left h a n d .

8
" B u t that's n o t the g o o d p a r t of the B r i t i s h v e r s i o n . L e t m e s h o w y o u t h e
g o o d p a r t . If I set t h e c o i n s o u t l i k e t h i s , I a p p a r e n t l y h a v e f o u r c o i n s . "
L a y the m i r r o r d o w n a n d , w i t h y o u r left h a n d , s l i d e t h e t w o s i l v e r c o i n s
o v e r next to the t w o c o p p e r c o i n s ( F i g u r e 8), s o t h a t the s i l v e r s h e l l g o e s
i n front. A t this point, f r o m y o u r perspective, the coins s h o u l d be
s i t u a t e d as f o l l o w s : left f r o n t - s i l v e r s h e l l , left r e a r - c/s c o i n s i l v e r s i d e
u p , right f r o n t - l a r g e c o p p e r s h e l l , right rear - s m a l l c o p p e r s h e l l o n t h e
b o t t o m w i t h t h e c/s i n s e r t i n i t c o p p e r s i d e u p . N o w s a y , " R e m e m b e r
t h o u g h , t h i s c o i n i s n o t e v e n r e a l ; it's j u s t a n i l l u s i o n . " L i f t u p the right
rear c o i n w i t h y o u r right h a n d as y o u s a y this a n d t u r n i t o v e r as y o u set
it b a c k d o w n to i t s p r e v i o u s p o s i t i o n . " S o I n o w h a v e s i l v e r i n t h e f r o n t ,
s i l v e r i n the back, c o p p e r i n the front, c o p p e r i n the b a c k . "

" I f I p u t t h e m i r r o r b e t w e e n t h e c o i n s at t h i s time, e v e r y t h i n g s h o u l d
l o o k g o o d , s i l v e r i n front, s i l v e r i n back, c o p p e r i n front, c o p p e r i n b a c k . "
W i t h y o u r left h a n d , r e g r i p the m i r r o r at i t s u p p e r left c o m e r a n d s l i d e i t
v e r t i c a l l y b e t w e e n the f r o n t a n d r e a r c o i n s . T h e n s l i d e i t o f f t o t h e l e f t
a g a i n , s h o w i n g the t w o rear c o i n s , a n d say, " B u t , w a t c h w h a t h a p p e n s i f
I t a k e a s i l v e r c o i n f r o m the f r o n t a n d s w i t c h it w i t h a c o p p e r c o i n i n the
b a c k . " Y o u w i l l n o w a p p a r e n t l y s w i t c h the p o s i t i o n s of the left f r o n t c o i n
w i t h the right rear c o i n i n a v e r y clever m a n n e r .

P i c k u p t h e l e f t f r o n t c o i n (the s i l v e r s h e l l ) at i t s f r o n t w i t h y o u r right
f i n g e r t i p s . A s y o u r p a l m d o w n right h a n d m o v e s b a c k o v e r the r i g h t rear
c o i n , u s e y o u r right f i n g e r t i p s t o c l a s s i c p a l m t h e s i l v e r s h e l l . T h e n
i m m e d i a t e l y s l i d e the right rear c o i n b a c k w a r d s d i a g o n a l l y to the right a
d i s t a n c e a b o u t e q u a l to the d i a m e t e r o f t h e c o i n , l i f t u p the s m a l l c o p p e r
s h e l l o n i t ( F i g u r e 9), a n d m o v e the s h e l l t o t h e left f r o n t p o s i t i o n . T h e n
m o v e y o u r h a n d b a c k to the s i l v e r c o i n ( a c t u a l l y the c/s i n s e r t ) a n d s l i d e
it f o r w a r d to the right r e a r p o s i t i o n . If y o u p e r f o r m these actions c l o s e to
the m a t , it s h o u l d l o o k as i f y o u m e r e l y s w i t c h e d the p o s i t i o n s of the t w o
c o i n s . D o n ' t o v e r l o o k s l i d i n g t h e right r e a r c o i n b a c k w a r d s d i a g o n a l l y
before l i f t i n g off the s m a l l c o p p e r s h e l l . It m a k e s it l o o k a w h o l e l o t better
t h a n just l i f t i n g the s h e l l off a n d m o v i n g i t to the f r o n t left p o s i t i o n .

A t t h i s p o i n t y o u c o u l d l a p t h e s i l v e r s h e l l . It i s b e t t e r t o h o l d o n t o i t
t h o u g h , b e c a u s e l a t e r y o u w i l l h a v e the o p p o r t u n i t y to get rid o f i t m o r e
d e a n l y . Besides, I t o l d y o u at the b e g i n n i n g y o u w o u l d n ' t h a v e to l a p .

C o n t i n u e b y s a y i n g , " T h e n I w o u l d h a v e c o p p e r i n the f r o n t a n d s i l v e r i n
the b a c k . So, i f I w e r e to p u t the m i r r o r b e t w e e n the coins n o w , y o u
w o u l d n ' t b e a b l e to see t h e s i l v e r c o i n s . " S l i d e t h e m i r r o r b e t w e e n t h e
f r o n t a n d r e a r c o i n s a g a i n . H o w e v e r , after d o i n g so, g r i p t h e u p p e r right
c o r n e r of the m i r r o r w i t h y o u r right h a n d , r e l e a s i n g y o u r left h a n d g r i p .
P l a c e y o u r l e f t ring finger o n t h e left r e a r c o i n , y o u r l e f t i n d e x finger o n
t h e right r e a r c o i n , a n d y o u r l e f t m i d d l e finger o n the right e d g e o f t h e
left rear c o i n a n d the left edge of the right rear c o i n . S l i d e y o u r left t h u m b
u n d e r t h e t w o r e a r c o i n s a n d y o u r left m i d d l e finger a n d l i f t u p t h e t w o
c o i n s s i m u l t a n e o u s l y ( f i g u r e 10). A s y o u d o so, t u r n the right c/s i n s e r t
o v e r o n t h e m a t , l e a v i n g i t t h e r e , a n d c o n t i n u e m o v i n g y o u r left h a n d
u p w a r d a b o v e the t o p of the m i r r o r to s h o w y o u r a u d i e n c e the s i l v e r s i d e
of the c/s c o i n ( f i g u r e 11). T h e n r e m a r k , " Y o u can't see these at a l l . "

N o w p l a c e t h e c/s c o i n b a c k d o w n b e h i n d t h e m i r r o r t o i t s p r e v i o u s
p o s i t i o n , h u r t i n g i t c o p p e r s i d e u p as y o u d o a n d s a y , " B u t i f I s n a p m y
fingers a n d s l o w l y p u l l the m i n o r a w a y , i l l u s i o n b e c o m e s reality, a n d the
c o i n s c h a n g e i n t o c o p p e r . " S n a p y o u r left fingers, s l o w l y s l i d e the m i r r o r
to the right to s h o w the f o u r c o p p e r c o i n s , a n d t w i r l the m i r r o r w i t h y o u r
right h a n d ( w h i c h s t i l l h a s the s i l v e r s h e l l d a s s i c p a l m e d ) .

" I f I n o w place the coins i n a r o w l i k e this a n d place the m i n o r b e h i n d

t h e m l i k e this, I a p p e a r to h a v e d g h t coins, w h i c h is w a y too m a n y to
w o r k w i t h . " P l a c e y o u r left m i d d l e finger o n t h e left f r o n t c o i n a n d y o u r
left i n d e x finger o n the right r e a r c o i n ( f i g u r e 12). S l i d e t h e s e t w o c o i n s
b a c k w a r d s d i a g o n a l l y t o the left s o t h a t the left rear c o i n passes between
t h e m . T h e n s l i d e t h e s e t w o c o i n s to t h e l e f t of the f o r m e r l e f t r e a r c o i n
( f i g u r e 13, n e x t p a g e ) . N o w s t r a i g h t e n the f o u r c o i n s i n t o a f a i r l y n e a t
r o w a n d s l i d e the m i r r o r b e h i n d t h e m . A t t h i s p o i n t the c o i n s f r o m y o u r
left t o right s h o u l d be the s m a l l c o p p e r s h e l l , the c/s insert, the c/s c o i n ,
a n d the l a r g e c o p p e r s h e l l .

" So i n s t e a d , let's s w i t c h t h e m b a c k a r o u n d l i k e t h e y w e r e b e f o r e " R e g r i p

the m i r r o r at i t s u p p e r left c o m e r w i t h y o u left h a n d , r e l e a s i n g y o u r right
h a n d g r i p , a n d s l i d e i t t o t h e l e f t . P l a c e y o u right i n d e x a n d m i d d l e
f i n g e r s o n the t w o l e f t m o s t c o i n s a n d s l i d e t h e m b e h i n d the o t h e r t w o
coins ( F i g u r e 14).

G e s t u r e t o w a r d s t h e f r o n t c o i n s a n d t h e n t h e r e a r c o i n s w i t h y o u r right
h a n d as y o u say, " R e m e m b e r , t h e s e c o i n s are r e a l , a n d t h e o n e s i n b a c k
of t h e m are an i l l u s i o n . " S l i d e the m i r r o r b e t w e e n the front a n d rear
c o i n s a g a i n . H o w e v e r , first adjust y o u r g r i p o n the m i r r o r so i t i s d e e p i n
t h e f o r k of y o u r l e f t t h u m b . T h e n , as y o u s l i d e t h e m i r r o r b e t w e e n t h e
coins, p r e s s d o w n o n the left edge of the left rear c o i n w i t h the t i p of
y o u r l e f t t h u m b a n d s l i d e i t (the s m a l l c o p p e r s h e l l ) o n t o the c/s i n s e r t
n e x t to i t ( F i g u r e 15), a l l o w i n g t h e m t o n e s t as o n e c o i n . A l t h o u g h t h i s i s
n o t d i f f i c u l t , i t w i l l t a k e a l i t t l e p r a c t i c e to k e e p t h e s h e l l f r o m " t a l k i n g "
too m u c h as y o u s l i d e it o v e r the c/s insert.

"If I take this c o i n a w a y , its i l l u s i o n also vanishes." D e m o n s t r a t e b y

m o m e n t a r i l y s l i d i n g t h e left f r o n t c o i n to the right w i t h y o u r right i n d e x
finger a n d then s l i d i n g it back f r o m w h e n c e it came. " S o w a t c h ; if I take
a r e a l c o i n a w a y a n d p u t i t i n m y p o c k e t , i t s i l l u s i o n v a n i s h e s , a n d as
o p p o s e d to h a v i n g f o u r c o i n s , I a m n o w l e f t w i t h t w o . " D o e x a c t l y as
y o u s a y a n d p l a c e t h e l e f t f r o n t c o i n (the c/s c o i n ) i n y o u r p o c k e t w i t h
y o u r right h a n d , t a k i n g t h e o p p o r t u n i t y t o d u m p t h e c l a s s i c p a l m e d
s i l v e r s h e l l t h e r e a l s o . T h e n s l i d e t h e m i r r o r to t h e l e f t to s h o w o n l y t w o
coins r e m a i n i n g a n d g i v e the m i r r o r a t w i r l w i t h y o u r left h a n d .

A s y o u s a y , " Y o u k n o w , t h i s c o i n i s n o t e v e n r e a l ; it's j u s t a n i l l u s i o n , "

p i c k u p the rear c o i n w i t h y o u r right h a n d , s h o w i n g its c o p p e r s i d e T h e n
slide the m i r r o r b e h i n d the coin o n the table a n d p l a c e the c o i n i n y o u r
right h a n d b a c k d o w n to i t s p r e v i o u s p o s i t i o n , t u r n i n g i t o v e r s i l v e r s i d e
u p as y o u d o so. C o n t i n u e b y g e s t u r i n g t o w a r d t h e c o i n i n f r o n t o f t h e
m i r r o r w i t h y o u r r i g h t h a n d as y o u say, " T h i s c o i n i s t h e real c o i n . "

" But, if I t a k e the m i r r o r a n d p l a c e i t just l i k e this, it l o o k s l i k e I just h a v e

just o n e c o i n . If I m o v e i t f o r w a r d l i k e t h i s , I h a v e j u s t a l i t t l e p i e c e o f a
c o i n . H o w e v e r , i f I p u t the m i r r o r b a c k l i k e this, a g a i n I h a v e t h e real c o i n
a n d i t s i l l u s i o n i n b a c k of i t . " P r e s s y o u r right i n d e x finger d o w n o n t h e
f r o n t e d g e o f t h e c o i n o n y o u r a u d i e n c e ' s s i d e of t h e m i r r o r (the l a r g e
c o p p e r shell) a n d p u s h i t b a c k w a r d , l i f t i n g t h e m i r r o r e v e r so s l i g h t l y t o
a l l o w the s h e l l to s l i d e u n d e r i t . A t t h e s a m e t i m e , p u s h t h e c o i n o n y o u r
s i d e of the m i r r o r (the s m a l l c o p p e r s h e l l w i t h t h e c/s i n s e r t i n i t s i l v e r
s i d e u p ) f o r w a r d w i t h y o u r right t h u m b , a l l o w i n g t h e c o i n o n y o u r s i d e
of the m i r r o r to n e s t u n d e r t h e l a r g e c o p p e r s h e l l . H o w e v e r , to k e e p t h i s
h i d d e n f r o m y o u r audience's v i e w , slide the b o t t o m edge of the m i r r o r
f o r w a r d to the m i d d l e of the s h e l l as the coins n e s t ( F i g u r e 16, next page).
O n c e the c o i n s h a v e n e s t e d , m a t c h y o u r a c t i o n s t o y o u r w o r d s a n d s l i d e
the m i r r o r f o r w a r d o n the c o i n a l i t t l e bit m o r e t o s h o w j u s t a l i t t l e p i e c e
of it. T h e n s l i d e the m i r r o r b a c k b e h i n d the c o i n .

" B u t , a strange t h i n g h a p p e n s i f I p l a c e the m i r r o r l i k e this. I e n d u p

w i t h h a l f o f a c o i n t h a f s real a n d h a l f o f a c o i n that's i l l u s i o n . If I w e r e to
l i f t the m i r r o r n o w , t h e i l l u s i o n w o u l d d i s a p p e a r , a n d I'd e n d u p w i t h
o n e s t r a n g e c o i n . " S l i d e the b o t t o m e d g e of the m i r r o r f o r w a r d o n t o p o f
the c o i n s o o n l y h a l f o f i t s h o w s i n front of the m i r r o r . T h e n slide t h e
m i r r o r to the left to s h o w that there i s n o w o n l y o n e coin a n d t w i r l the
m i r r o r w i t h y o u r left h a n d .

" S o n o w I a m left w i t h o n e c o i n t h a t i s h a l f real a n d h a l f i l l u s i o n . I k n o w

it looks real; i t even sounds real. E v e n so, I can take i t a n d p u t i t right
into the mirror, just like that." L a y the mirror d o w n behind the coin
(actually a b u n c h of nested g i m m i c k e d coins). P i c k the coin u p w i t h y o u r
right h a n d t o d i s p l a y i t a t y o u r f i n g e r t i p s a n d t a p i t o n t h e m i r r o r .
P r e t e n d t o p l a c e i t i n t o y o u r left h a n d , d o i n g y o u r best r e t e n t i o n v a n i s h .
Then muster u p a l l the acting skill y o u c a n a n d dramatically p u t the
E n g l i s h p e n n y , s u p p o s e d l y i n y o u r left h a n d , i n t o t h e m i r r o r ( F i g u r e 17).
E n d b y p i c k i n g u p t h e m a t at i t s l e f t a n d r i g h t e d g e s t o d i s p l a y t h e
m i r r o r at t h e c e n t e r o f i t , m a k i n g s u r e t o h o l d t h e m a t s o t h a t i t c o v e r s
the c o i n i n y o u r right h a n d f i n g e r p a l m ( f i g u r e 18).

H o r n i n g i n : D a n a n d I t h i n k this i s a n excellent routine. I f o u n d the part

w h e r e t h e t w o s i l v e r c o i n s b e h i n d t h e m i r r o r c h a n g e to t w o c o p p e r c o i n s
especially startling, since i t h a p p e n s so f a s t

Surprisingly, d u e to the size of the m i r r o r a n d the placement of y o u r

h a n d s , t h e r e a r e a l m o s t n o b a d a n g l e s i n t h e r o u t i n e . I n fact, i t c a n b e
p e r f o r m e d s u r r o u n d e d (I've seen D i c k d o i t ) . Y o u m i g h t a s k , " C a n ' t t h e
s p e c t a t o r s t o t h e s i d e s see t h e c o i n s b e h i n d t h e m i r r o r ? " T h e a n s w e r i s
no. Y o u r h a n d s s h i e l d their v i e w , a n d even i f they c o u l d see the coins
behind the mirror, y o u should be verbally rmsdirecting them throughout
the r o u t i n e so that their attention i s o n t h e front of t h e m i r r o r . T h e y
s h o u l d w a n t to see w h a f s g o i n g o n i n f r o n t of, n o t b e h i n d , t h e m i r r o r .

A c o u p l e o f f i n a l p o i n t s , first, D i c k u s e s a s i l v e r s h e l l w i t h a h e a d o n i t
a n d a c/s c o i n w i t h a h e a d o n t h e s i l v e r s i d e . T h i s w a y t h e t w o s i l v e r
coins i n the A m e r i c a n version match. I f s not absolutely necessary, b u t i t
d o e s l o o k better. It's a l s o t h e r e a s o n f o r o n l y f l a s h i n g b o t h s i d e s o f t h e
s i l v e r c o i n i n t h e A m e r i c a n v e r s i o n . O t h e r w i s e , y o u r a u d i e n c e w o u l d see
a t w o headed silver coin.

Second, y o u m i g h t h a v e a tendency to a l l o w the m i r r o r to inadvertently

tilt b a c k t o w a r d y o u , w h e n i t s h o u l d b e h e l d v e r t i c a l l y . If y o u d o t h i s ,
y o u are o n l y f o o l i n g y o u r s e l f a n d n o t y o u r audience.

T h i r d , i f y o u feel u n c o m f o r t a b l e d o i n g a retention v a n i s h w i t h a b u n c h o f
nested g i m m i c k e d coins, y o u m i g h t w a n t to switch for a real E n g l i s h
penny. This can be easily accomplished b y p l a c i n g a real E n g l i s h p e n n y
i n o n e o f y o u r p o c k e t s a n d c h a n g i n g t h e p a t t e r as f o l l o w s : " S o n o w I a m
left w i t h o n e c o i n t h a t i s h a l f r e a l a n d h a l f i l l u s i o n . I k n o w i t l o o k s a n d
sounds real; I c o u l d even take i t and p u t it i n m y pocket. O n the other
h a n d , I c o u l d t a k e i t a n d p u t i t right i n t o t h e m i r r o r . " M a t c h i n g y o u r
actions to y o u r w o r d s , it's a s i m p l e matter to s w i t c h for the real E n g l i s h
p e n n y w h e n y o u put the g i m m i c k coins i n y o u r pocket.

F o u r t h a n d last, w h e n D i c k p e r f o r m s t h i s r o u t i n e s e a t e d , h e s o m e t i m e s
ends i t a little differently. Instead of p e r f o r m i n g a retention v a n i s h , D i c k
performs the Hirata Master M o v e to p u t the coin into the mirror. This is
f r o m G a r y O u e l l e t a n d H a r u h i t o H i r a t a ' s Silver Passage. C h e c k o u t Silver
Passage for a f u l l d e s c r i p t i o n . H o w e v e r , b r i e f l y , y o u h o l d t h e c o i n at y o u r
f i n g e r t i p s , r a i s e i t h i g h a b o v e t h e m i r r o r , a n d l a p i t ( o h n o ) as y o u b r i n g
y o u r h a n d straight d o w n onto the m i r r o r . F o r this ending, however, y o u
w i l l n e e d to s w i t c h f o r t h e real E n g l i s h p e n n y . ^
Ray Witkowski's
GONE FISHIN'
M L : D a n a n d I thought i t m i g h t be nice to occasionally i n c l u d e a n i t e m
f r o m o n e of magic's a l l i e d arts. S o n o w f o r s o m e t h i n g c o m p l e t e l y
different, w e p r e s e n t to y o u a b a l l o o n s c u l p t u r e If this i s n o t y o u r c u p o f
tea, y o u m a y p r o c e e d t o t h e n e x t i t e m at t h i s t i m e ( a f t e r a l l , w e c a n ' t
a l w a y s please everyone). H o w e v e r , i f y o u d o this sort of t h i n g o r just
d a b b l e i n i t , here's a b a l l o o n s c u l p t u r e w e t h i n k y o u w i l l enjoy.

Besides being a m a g i c i a n , o n e of R a y W i t k o w s k i ' s specialties i s creating

b a l l o o n s c u l p t u r e s . T h i s i s r e a d i l y a p p a r e n t b y h i s b o o k Troubles With
Bubbles. R a y , w h o h a i l s f r o m S h a r p s v i l l e , P e n n s y l v a n i a , w a s g e n e r o u s
e n o u g h to a l l o w D a n a n d I t o i n c l u d e t h i s i t e m f r o m h i s b o o k here.

I won't bore y o u w i t h detailed descriptions of the various different types

of b a l l o o n s a n d h o w to b l o w t h e m u p . I l l just g i v e s o m e b a s i c d i r e c t i o n s .
A f t e r a l l , i f y o u haven't gone o n to the next i t e m yet, y o u h a v e p r o b a b l y
either already t w i s t e d a b a l l o o n o r t w o i n y o u r d a y or are interested
enough to learn m o r e f r o m one of the m a n y fine books o n b a l l o o n
m o d e l i n g a v a i l a b l e at y o u r f a v o r i t e m a g i c o r h o b b y s h o p .

A l l t o l d , y o u w i l l n e e d three 260 t y p e b a l l o o n s a n d t w o a p p l e o r b e e
balloons. W e l l begin w i t h the f i s h i n g pole. Inflate o n e of the 260
b a l l o o n s , l e a v i n g t w o i n c h e s u n i n f l a t e d , a n d tie a k n o t i n i t at t h e n o z z l e
(that's t e c h n i c a l t a l k f o r t h e e n d o f t h e b a l l o o n y o u b l o w i n t o ) ( f i g u r e 1).
T h e n i n f l a t e o n e o f t h e a p p l e (or bee) b a l l o o n s t o a b o u t h a l f i t s c a p a c i t y
a n d tie a k n o t at i t s n o z z l e ( f i g u r e 2).

T w i s t the a p p l e b a l l o o n i n t o , w h a t else, an a p p l e . T h i s i s d o n e b y
p r e s s i n g y o u r left i n d e x finger a g a i n s t t h e n o z z l e a n d p u s h i n g i t t h r o u g h
the c e n t e r o f t h e b a l l o o n , i n t o t h e t a i l (that's t e c h n i c a l t a l k f o r t h e o t h e r
e n d o f t h e b a l l o o n ) ( f i g u r e 3). W i t h y o u r r i g h t h a n d , g r a b t h e n o z z l e a n d
k n o t t h r o u g h t h e t a i l o f t h e b a l l o o n , r e m o v e y o u r l e f t i n d e x finger f r o m
the b a l l o o n , a n d t w i s t t h e b a l l o o n w i t h y o u r left h a n d s o that t h e n o z z l e
a n d k n o t b i n d s i n t h e t a i l o f t h e b a l l o o n . N o w press t h e n o z z l e , k n o t , a n d
tail back i n t o the b a l l o o n , a n d y o u h a v e a n a p p l e ( f i g u r e 4).

N o w twist the apple i n half b y g r a s p i n g it w i t h both hands, exerting

i n w a r d p r e s s u r e at t h e b a l l o o n ' s m i d d l e w i t h y o u r t h u m b s a n d fingers,
and t u r n i n g y o u r hands i n opposite directions. This can be a little
d i f f i c u l t a n d m i g h t c a u s e y o u to b u r s t a b a l l o o n o r t w o u n t i l y o u get t h e
h a n g o f i t . Y o u s h o u l d w i n d u p w i t h s o m e t h i n g t h a t l o o k s tike a y o - y o
w i t h o u t t h e s t r i n g ( f i g u r e 5). N e x t p l a c e a t w i s t i n t h e 260 b a l l o o n a b o u t
nine inches f r o m the n o z z l e and w r a p it a r o u n d the m i d d l e of the apple
b a l l o o n . A f t e r s o m e a d j u s t i n g i t s h o u l d l o o k l i k e a fishing p o l e ( f i g u r e 6).

F o r t h e fish, i n f l a t e t h e s e c o n d a p p l e b a l l o o n a l i t t l e m o r e t h a n y o u d i d
the p r e v i o u s o n e , tie i t c l o s e d , a n d p l a c e a t w i s t i n i t a p p r o x i m a t e l y t w o
i n c h e s f r o m t h e n o z z l e , t h u s f o r m i n g a t w o i n c h b u b b l e ( f i g u r e 7). N o w
t w i s t just t h e b u b b l e i n h a l f i n t h e s a m e m a n n e r as y o u t w i s t e d t h e first
a p p l e b a l l o o n i n h a l f ( f i g u r e 8). A g a i n , t h i s c a n b e a l i t t l e t r i c k y , i f n o t
downright frustrating, initially.

C o n t i n u e b y i n f l a t i n g s i x i n c h e s o f o n e of t h e t w o r e m a i n i n g 260
b a l l o o n s . T i e a k n o t at b o t h e n d s o f t h e s i x i n c h s e c t i o n a n d b r e a k o r c u t
 off t h e u n i n f l a t e d t a i l e n d o f t h e b a l l o o n . T w i s t t h e s i x i n c h b a l l o o n at i t s
m i d d l e a n d place this t w i s t a r o u n d t h e t w i s t that f o r m e d the t w o i n c h
bubble i n the apple balloon. A f t e r some adjusting, y o u s h o u l d have a
p r e t t y d e c e n t l o o k i n g f i s h ( F i g u r e 9). A l l that r e m a i n s n o w i s t o t a k e t h e
r e m a i n i n g u n i n f l a t e d 260 b a l l o o n a n d tie o n e e n d o f i t to the e n d of the
f i s h i n g p o l e a n d t h e o t h e r e n d to t h e " n o s e " o f t h e f i s h ( f i g u r e 10). T h e r e
y o u h a v e it, a f i s h o n t h e l i n e ( y o u s h o u l d ' v e seen t h e o n e that g o t a w a y ) .

H o r n i n g i n : There's r e a l l y n o t m u c h I c a n a d d , e x c e p t that y o u a c t u a l l y
got a t o t a l o f f i v e (count 'em, five) b a l l o o n s c u l p t u r e s f o r t h e p r i c e o f o n e
(such a deal!) - a f i s h i n g pole, a n a p p l e (used i n m a k i n g the f i s h i n g
pole), a f i s h , a f i s h o n t h e l i n e , a n d , b y a t t a c h i n g a n u n i n f l a t e d 260
b a l l o o n t o t h e t w i s t e d a p p l e , a y o - y o w i t h a s t r i n g . R a y s a y s that Gone
Fishin'is q u i t e p o p u l a r w i t h a d u l t s as w e l l as t h e k i d s . W i t h a l l t h e
i n t e r i m sculptures used i n reaching the f i n a l result, y o u c o u l d p r o b a b l y
come u p w i t h some pretty g o o d patter to use w h i l e y o u are t w i s t i n g
a w a y . If y o u w o u l d l i k e m o r e i n f o r m a t i o n o n R a y ' s b o o k , w r i t e t o T H E
M I N O T A U R , a n d I w i l l see that y o u r request i s f o r w a r d e d to h i m . *

Dan Harlan's
THE INCREDIBLE SHRINKING
RUBBER BAND D H : I h a d been t o y i n g w i t h a n i d e a recently, w h e n s u d d e n l y I w o r k e d
o u t t h e m e t h o d . S o , I w e n t to M a r v a n d a s k e d h i m " H o w w o u l d y o u l i k e
to l e a m m y n e w e s t r u b b e r b a n d trick? It's c a l l e d The Incredible Shrinking
Rubber Band." W h e n h e n o d d e d y e s , I r e m o v e d o n e o f s e v e r a l r u b b e r
bands w r a p p e d a r o u n d m y w r i s t a n d h a n d e d it to h i m . I then took one
f o r m y s e l f , s t r e t c h e d i t b e t w e e n m y h a n d s a n d r e q u e s t e d that h e d o t h e
same w i t h h i s . " N o w , " I continued, " i f y o u b r i n g y o u r h a n d s closer
together, t h e b a n d l o o k s l i k e it's g e t t i n g s m a l l e r . Isn't that g r e a t ? "

M a r v s m i r k e d a little a n d reluctantly agreed, w h i l e p r i v a t e l y i m a g i n i n g

t h a t I h a d l o s t m y m a r b l e s . I, o n t h e o t h e r h a n d , r e a l i z e d t h a t w e w e r e
a l r e a d y h a l f w a y d o w n t h e g a r d e n p a t h . " T h e d i f f i c u l t p a r t i s to m a k e t h e
r u b b e r b a n d a p p e a r e v e n s m a l l e r t h a n i t a c t u a l l y i s . T o d o that, y o u j u s t
s q u e e z e i t u n t i l i t gets s o s m a l l that i t s o m e t i m e s v a n i s h e s . " S u i t i n g m y
actions to m y w o r d s , I caused t h e b a n d to s h r i n k a n d v a n i s h f r o m m y
fingertips, w h i l e M a r v ' s remained d a n g l i n g between h i s trembling hands.

B a s i c a l l y , this effect i s a n u n u s u a l a p p l i c a t i o n of t h e c a m o u f l a g e
p r i n c i p l e , w h e r e i n a n object i s secretly d i s c a r d e d a m o n g other objects o f a
similar appearance. The strength of this principle, a n d the rubber b a n d
effect, i s i t s s i m p l i c i t y a n d directness. T h e r e i s n o t h i n g left to h i d e .

F o r e x a m p l e , t a k e a h a n d f u l o f c h a n g e o u t o f y o u r p o c k e t a n d p l a c e it o n
the table i n a little pile. P i c k u p a larger c o i n , l i k e a quarter, w i t h y o u r
right h a n d . A p p a r e n t l y p l a c e t h e q u a r t e r i n t o y o u r left h a n d b u t secretly
r e t a i n i t i n y o u r right h a n d u s i n g y o u r f a v o r i t e m e t h o d . N o w , m e n t i o n
the m a g i c p o w e r o f a p e n n y as y o u r e a c h i n t o t h e p i l e o f c o i n s w i t h y o u r
right h a n d . A s y o u r e m o v e a p e n n y , s i m p l y l e a v e t h e q u a r t e r b e h i n d
w i t h the other coins, w h e r e i t blends i n perfectly. Then w a v e the p e n n y
o v e r y o u r left fist to c a u s e t h e q u a r t e r t o v a n i s h . Y o u can't get t o o m u c h
cleaner t h a n that.
T h i s r u b b e r b a n d t r i c k i s a n e x t e n s i o n o f t h e c o i n effect o u t l i n e d o n t h e
p r e v i o u s page. The b a n d that v a n i s h e s returns to y o u r w r i s t w h e r e it
goes u n n o t i c e d a m o n g s t the o t h e r s , j u s t l i k e the q u a r t e r d i d . H e y , that's
t w o tricks f o r the p r i c e of one! H o w c a n M a r v a n d I a f f o r d to d o that?

T o set u p , p l a c e a b o u t f o u r o r f i v e r u b b e r b a n d s o f t h e s a m e c o l o r a n d
k i n d a r o u n d y o u r right w r i s t . T h e s e s h o u l d f i t s n u g b u t n o t t o o t i g h t .
S t r e t c h o n e of the b a n d s o u t f r o m the i n s i d e of y o u r w r i s t w i t h y o u r l e f t
fingers a n d t w i s t i t o n e h a l f t u r n to f o r m a f i g u r e " 8 " ( F i g u r e 1, p r e v i o u s
page). Y o u r right w r i s t i s i n s i d e o n e of the o p e n i n g s of the " 8 " , a n d y o u r
left f i n g e r s h o l d t h e o t h e r . B e n d y o u r right f i n g e r s t h r o u g h the o p e n i n g
h e l d b y y o u r l e f t h a n d ( F i g u r e 2, p r e v i o u s p a g e ) . T h e n r e l e a s e y o u r l e f t
h a n d ' s l o o p o n t o y o u r right w r i s t ( F i g u r e 3). Y o u s h o u l d n o w h a v e o n e
r u b b e r b a n d w r a p p e d t w i c e a r o u n d y o u r right w r i s t , w h i l e a l l the o t h e r s
encircle it o n l y once. M a k e sure that the d o u b l e d b a n d is not tangled i n
a n y w a y , a n d y o u are r e a d y to p e r f o r m .

To begin, a p p r o a c h an u n s u s p e c t i n g f r i e n d or l o v e d one a n d offer to

demonstrate a m a g i c trick. R e m o v e one of the n o r m a l b a n d s f r o m y o u r
w r i s t b y b e n d i n g y o u r right h a n d i n t o w a r d y o u r chest, y o u r right f i n g e r s
s l i g h t l y c u r l e d , a n d y o u r r i g h t t h u m b p a r a l l e l to the f l o o r . Y o u r left
t h u m b a n d f i n g e r s t h e n g r a b a n o r m a l b a n d at t h e b a c k o f y o u r right
w r i s t ( F i g u r e 4). P u l l t h i s b a n d a l o n g t h e b a c k o f y o u r right h a n d u n t i l
the t o p s t r a n d clears y o u r right t h u m b ( F i g u r e 5). A t this p o i n t , c u r l y o u r
right f i n g e r s i n w a r d , g r a b t h e b a n d b e t w e e n the t h u m b a n d i n d e x f i n g e r
of each h a n d , r e m o v e y o u r other fingers f r o m i n s i d e the b a n d , a n d
c o n t i n u e m o v i n g y o u r left h a n d to t h e l e f t W h e n y o u r h a n d s are a b o u t
six i n c h e s apart, the r u b b e r b a n d w i l l b e s t r e t c h e d b e t w e e n t h e m b y t h e
t h u m b a n d i n d e x f i n g e r of each h a n d .

B e g i n d e m o n s t r a t i n g t h e effect, b u t s t o p a n d i n s t e a d o f f e r t o t e a c h i t t o
y o u r s p e c t a t o r . R e l e a s e t h e b a n d f r o m y o u r right h a n d a n d h a n d i t t o
y o u r spectator. N o w , d u p l i c a t e the a c t i o n s u s e d a b o v e to r e m o v e a b a n d
f o r y o u r s e l f , b u t t h i s time g r a b a s i n g l e s t r a n d o f t h e d o u b l e d b a n d . A s
this b a n d clears y o u r r i g h t t h u m b , the " X " of the f i g u r e " 8 " w i l l be
b e h i n d y o u r right fingers ( F i g u r e 6). R e m o v e y o u r right m i d d l e , ring, a n d
l i t t l e f i n g e r s f r o m i n s i d e t h i s p o r t i o n of t h e b a n d a n d s q u e e z e t h e " X "
b e t w e e n y o u r right t h u m b a n d i n d e x f i n g e r as y o u r l e f t h a n d m o v e s t o
the left ( F i g u r e 7). If y o u k e e p y o u r right fingers together, s l i g h t l y c u r l e d ,
y o u s h o u l d n o w a p p e a r to b e h o l d i n g a r u b b e r b a n d as y o u r w e r e before,
b u t this time p a r t of the b a n d i s secretly w r a p p e d a r o u n d y o u r w r i s t

W i t h y o u r spectator h o l d i n g h i s b a n d l i k e y o u r s , b r i n g y o u r h a n d s c l o s e r
together to m a k e y o u r b a n d " s h r i n k . " Instruct y o u r s p e c t a t o r to d o
l i k e w i s e . W h e n y o u r b a n d starts to become loose, stop a n d say, " T h e
d i f f i c u l t p a r t i s to m a k e the b a n d a p p e a r e v e n s m a l l e r t h a n i t i s . " S l o w l y
r e l e a s e t h e p r e s s u r e b e t w e e n y o u r right t h u m b a n d i n d e x finger as y o u
c o n t i n u e to m o v e y o u r fingertips c l o s e r together.

W h e n the tips of y o u r t h u m b s , i n d e x fingers, a n d m i d d l e fingers of b o t h

h a n d s m e e t , r o t a t e y o u r right h a n d p a l m d o w n s o t h a t y o u r right i n d e x
fingertip i s n o w a g a i n s t t h e t i p of y o u r l e f t t h u m b , y o u r right m i d d l e
fingertip i s a g a i n s t y o u r l e f t i n d e x fingertip, a n d t h e t i p o f y o u r right
t h u m b i s a g a i n s t y o u r left m i d d l e f i n g e r t i p . S i m u l t a n e o u s l y , as y o u t u r n
y o u r right h a n d p a l m d o w n , release t h e b a n d , a l l o w i n g i t to s p r i n g b a c k
t o w a r d y o u r right w r i s t .

In a c o n t i n u o u s m o t i o n , s t r a i g h t e n t h e fingers o f b o t h h a n d s as y o u t u r n
 y o u r left h a n d p a l m u p , m a i n t a i n i n g contact between y o u r left i n d e x
f i n g e r t i p a n d y o u r right m i d d l e f i n g e r t i p as y o u d o so. If d o n e c o r r e c t l y ,
y o u can't h e l p b u t f o r m a 45° a n g l e f r o m y o u r h a n d s a n d a r m s to y o u r
b o d y . B y k e e p i n g the i n d e x a n d m i d d l e finger o f each h a n d n e x t to e a c h
o t h e r as y o u o p e n u p y o u r t h u m b s a n d o t h e r f i n g e r s , y o u s h o u l d w i n d
u p at the p o s i t i o n i n F i g u r e 8. It s h o u l d l o o k as i f y o u are s q u e e z i n g the
r u b b e r b a n d b e t w e e n y o u r i n d e x a n d m i d d l e fingers of b o t h h a n d s .

C o m p l e t e the v a n i s h of the r u b b e r b a n d b y t u r n i n g y o u r right h a n d p a l m

u p as y o u t u r n y o u r l e f t h a n d p a l m d o w n , a l l t h e w h i l e m a i n t a i n i n g
c o n t a c t b e t w e e n y o u r i n d e x a n d m i d d l e f i n g e r s o f b o t h h a n d s as t h e y
p i v o t a g a i n s t e a c h o t h e r ( F i g u r e 9). N o w o p e n y o u r h a n d s as y o u m o v e
t h e m a p a r t t o s h o w t h a t t h e b a n d h a s v a n i s h e d ( F i g u r e 10). If a l l t h e
a c t i o n s s u b s e q u e n t to the p o i n t at w h i c h t h e t i p s o f y o u r t h u m b s , i n d e x
fingers, a n d m i d d l e fingers o f b o t h h a n d s m e e t are d o n e i n a c o n t i n u o u s
f l u i d m o t i o n , the v a n i s h i s q u i t e c o n v i n c i n g .

H o m i n g i n : There's m o r e h e r e t h a n a c u t e l i t d e o p e n i n g stunt. F i r s t o f a l l ,
the c a m o u f l a g e p r i n c i p l e i s v e r y d e c e p t i v e a n d n a t u r a l . I h o p e y o u c a n
find m a n y o t h e r w a y s to a p p l y i t . L e t u s k n o w w h a t y o u c o m e u p w i t h .

S e c o n d l y , t h i s effect c a n b e u s e d as a v a n i s h , a c o l o r c h a n g e , o r e v e n a
transformation, depending on w h a t y o u have previously h i d d e n i n your
right h a n d . F o r e x a m p l e , i f y o u h i d e a r e d r u b b e r b a n d i n y o u r right
h a n d a n d t h e n p e r f o r m the v a n i s h d e s c r i b e d , y o u w i l l create the i l l u s i o n
o f a c o l o r c h a n g e H e y , that's n o w three t r i c k s f o r the p r i c e of o n e A t this
rate, M a r v a n d I w i l l g o b r o k e

F i n a l l y , this is i n t i m a t e m a g i c , best d o n e for a s m a l l , casual g a t h e r i n g

d i k e y o u m i g h t find i n a restaurant). It i s m e a n t to b r e a k the i c e a n d l e a d
to o t h e r t h i n g s . It s e r v e s t h i s p u r p o s e e x t r e m e l y w e l l , e s p e c i a l l y w h e n
someone asks w h y y o u have rubber bands o n y o u r wrist. •

Gordon Jeppesen's ^
ROUND IN ROUND
M L : A s t h e s e n i o r m e m b e r o f I . B . M . R i n g 161 i n A k r o n , O h i o , G o r d o n
J e p p e s e n h a s been i n m a g i c l o n g e r t h a n h e w o u l d p r o b a b l y care to a d m i t .
A s a result, h e i s a v e r i t a b l e f o u n t a i n o f m a g i c a l k n o w l e d g e - k n o w l e d g e
h e i s m o r e t h a n w i l l i n g to s h a r e w i t h u s r e l a t i v e n e w c o m e r s .

A l t h o u g h h e considers h i m s e l f m o r e of a stand-up performer than a

close-up w o r k e r , G o r d o n has come u p w i t h h i s share of close-up gems.
O n e o f t h e m i s h i s h a n d l i n g o f S l y d i n i ' s c l a s s i c Paper Balls in the Box.
For those of y o u u n f a m i l i a r w i t h the S l y d i n i original, four p a p e r balls
travel i n v i s i b l y , one b y one, f r o m y o u r h a n d i n t o a bottomless a n d
t o p l e s s box s h o w n p r e v i o u s l y to be e m p t y . O n e of the differences i n
G o r d o n ' s h a n d l i n g i s t h e u s e o f a c y i i n d e r i n s t e a d o f b o x , h e n c e the t i t l e
Round in Round ( r o u n d b a l l s i n a r o u n d c y l i n d e r ) .

G o r d o n m a k e s n o c l a i m to h a v e i m p r o v e d o n S l y d i n i ' s h a n d l i n g . H e h a s ,
h o w e v e r , s i m p l i f i e d it a n d added a second phase. For c o m p a r i s o n
p u r p o s e s , y o u m i g h t w a n t to l o o k u p S l y d i n i ' s c l a s s i c p r e s e n t a t i o n i n The
Best of Slydini.. and More b y K a r l F u l v e s .

T o p e r f o r m , y o u w i l l n e e d to be s e a t e d at a table w i t h a t a b l e c l o t h o n i t ,
 s i n c e s o m e l a p p i n g i s r e q u i r e d . Y o u w i D a l s o n e e d s i x p a p e r b a l l s (of
w h i c h y o u r s p e c t a t o r s are o n l y a w a r e o f three), a l a r g e p a p e r d i p , a n d a
s t r i p o f c a r d b o a r d m e a s u r i n g a p p r o x i m a t d y 4 i n c h e s b y 2 8 i n c h e s . It i s
i m p o r t a n t that the c a r d b o a r d s t r i p h a v e s o m e s p r i n g to i t . T h e p a p e r c l i p
s h o u l d be o n the cardboard strip near d t h e r end. Y o u w i l l also need to
place a c o u p l e pieces of d o u b l e - s i d e d tape crisscrossed o n the p a l m of
y o u r right h a n d ( F i g u r e 1, p r e v i o u s page).

By the w a y , G o r d o n makes his paper balls i n a d v a n c e H e rolls f a d a l

tissue (you k n o w , kleenex) between his h a n d s a n d then puts w h i t e glue
i n t h e c r e v i c e s ( F i g u r e 2). O n c e t h e g l u e s t a r t s to set, h e r o l l s e a c h b a l l
a g a i n to m a k e t h e m t i g h t a n d to p r e v e n t t h e m f r o m u n r a v e l i n g .

T o p e r f o r m , sit y o u r s e l f d o w n , reach i n t o y o u r d o s e - u p b a g o f t r i c k s , a n d
p l a c e t h r e e of the b a l l s to y o u r left o n t h e table. T h e n as y o u r e a c h i n t o
y o u r d o s e - u p b a g f o r the c a r d b o a r d s t r i p , c o n c e a l t h e o t h e r t h r e e b a l l s i n
y o u r left h a n d b y c u r l i n g y o u r left m i d d l e , ring, a n d l i t t l e f i n g e r s a r o u n d
t h e m . U s i n g b o t h h a n d s , p l a c e the c a r d b o a r d s t r i p o n t h e t a b l e i n f r o n t o f
y o u . T h i s w i l l h d p h i d e the fact that y o u h a v e s o m e t h i n g i n y o u r left
h a n d . The cardboard s h o u l d h a v e a fair a m o u n t of curve i n it so that it
w i l l rest o n i t s edge, c o n c a v e s i d e t o w a r d y o u r spectators ( f i g u r e 3).

B y w a y o f i n t r o d u c t i o n say, " F o r t h i s effect, I w i l l e m p l o y one, t w o , t h r e e

paper balls a n d a piece of cardboard, w h i c h I w i l l m a k e i n t o a cylinder."
M a t c h i n g y o u r actions to y o u r w o r d s , p i c k u p each of the tabled b a l l s
3 w i t h y o u r left t h u m b a n d i n d e x finger, o n e at a t i m e , a n d p l a c e i t b a c k o n
the table. T h i s k e e p s the left h a n d i n m o t i o n , h d p i n g h i d e the fact t h a t i t
is concealing something.

N o w m a k e a c y l i n d e r as f o l l o w s : G r a s p t h e l e f t e n d o f t h e c a r d b o a r d
strip between y o u r left t h u m b a n d i n d e x finger so that y o u r t h u m b i s
i n s i d e t h e s o o n - t o - b e c y l i n d e r a n d y o u r i n d e x finger i s o u t s i d e . Y o u r
c u r l e d l e f t m i d d l e , ring, a n d l i t t l e f i n g e r s , w h i c h c o n c e a l t h r e e b a l l s ,
s h o u l d a l s o b e i n s i d e the s o o n - t o - b e c y l i n d e r ( f i g u r e 4). G r a s p t h e o t h e r
e n d o f t h e c a r d b o a r d s t r i p w i t h y o u r right h a n d i n a s i m i l a r m a n n e r .
R a i s e i t off the table m o m e n t a r i l y t o s h o w i t o b v i o u s l y e m p t y . N o w p l a c e
it back o n the table, o v e r l a p its ends an i n c h o r t w o , a n d , u s i n g y o u r
right h a n d , f a s t e n t h e e n d s t o g e t h e r w i t h t h e p a p e r d i p t o f o r m t h e
c y l i n d e r . H o w e v e r , as y o u f a s t e n t h e e n d s together, o p e n the fingers o f
y o u r left h a n d ( f i g u r e 5) t o secretly l o a d the b a l l s i n t o the c y l i n d e r .

Before y o u c o n t i n u e , e x p l a i n to y o u r spectators, " I a m n o w g o i n g to

p l a c e t h e b a l l s i n t h e c y l i n d e r , a n d y o u w i l l n o t see t h e m g o . " A s y o u
explain, demonstrate b y p i c k i n g u p one of the balls between y o u r left
t h u m b a n d i n d e x f i n g e r as i f t o v i s i b l y p l a c e i t i n t h e c y l i n d e r . H o w e v e r ,
s t o p s h o r t o f a c t u a l l y d o i n g so, b a n g c a r e f u l n o t t o a l l o w y o u r left h a n d
to d i p b d o w the top l e v d o f the c y h n d e r .

In p h a s e one, each o f the three b a l l s w i l l t r a v d i n v i s i b l y f r o m y o u r h a n d s

i n t o the c y l i n d e r i n a m a n n e r s o m e w h a t s i m i l a r to that used b y S l y d i n i .
Say, " B a l l n u m b e r o n e " D i s p l a y the b a l l between y o u r left t h u m b a n d
i n d e x f i n g e r . T h e n t u r n y o u r b o d y s l i g h t l y t o the left as y o u r o l l the b a l l
b e t w e e n t h e f i n g e r s o f y o u r right h a n d a n d y o u r l e f t p a l m a c o u p l e o f
t i m e s . Y o u r h a n d s s h o u l d b e s l i g h t l y t o t h e left o f t h e c y l i n d e r as y o u d o
so, a n d the b a c k o f y o u r right h a n d s h o u l d b e t o w a r d y o u r spectators. B e
c a r e f u l n o t t o let the b a l l stick to the d o u b l e - s i d e d t a p e o n y o u r p a l m .

E n d the r o l l so that the b a l l is o n c e a g a i n d i s p l a y e d b e t w e e n y o u r left

 r h u m b a n d i n d e x finger a n d gesture t o w a r d i t w i t h y o u r right h a n d . N o w
t a k e the b a l l b e t w e e n y o u r right t h u m b a n d i n d e x finger a n d m o v e y o u r
right h a n d o v e r the c y l i n d e r as i f to v i s i b l y p l a c e the b a l l i n the c y l i n d e r .
H o w e v e r , s t o p s h o r t of a c t u a l l y d o i n g so, b e i n g c a r e f u l n o t to a l l o w y o u r
right h a n d t o d i p b e l o w t h e t o p l e v e l o f t h e c y l i n d e r . P a u s e t o l o o k at
y o u r spectators a n d s h a k e y o u r h e a d as i f to say, " N o , n o t v i s i b l y . "

O n c e a g a i n r o l l t h e b a l l b e t w e e n y o u r h a n d s to t h e l e f t of t h e c y l i n d e r .
H o w e v e r t h i s t i m e , as y o u e n d the r o l l , y o u r right t h u m b p r e s s e s the b a l l
a g a i n s t y o u r right fingers as y o u r left h a n d c l o s e s i n t o a p a l m d o w n fist,
a p p a r e n t l y a r o u n d the b a l l . A s before, gesture t o w a r d y o u r left h a n d
w i t h y o u r right h a n d . N o w m o v e y o u r l e f t fist d i r e c t l y o v e r the c y l i n d e r
as y o u s i m u l t a n e o u s l y , a n d i n a c o n t i n u o u s m o t i o n , s w i n g y o u r right
h a n d b e h i n d the cylinder, l a p the ball, a n d m o v e y o u r o p e n p a l m d o w n
right h a n d o v e r y o u r left fist ( F i g u r e 6). C o m p l e t e this a c t i o n b y s l a p p i n g
the b a c k of y o u r left fist w i t h y o u r right h a n d a n d o p e n i n g y o u r fist

The b a l l h a s a p p a r e n t l y traveled i n v i s i b l y f r o m y o u r left h a n d i n t o the

c y l i n d e r . L e a n f o r w a r d to l o o k i n t o the c y l i n d e r as i f to see i f the b a l l d i d
i n f a c t t r a v e l . T h e n l o o k at y o u r s p e c t a t o r s a n d h o l d u p o n e finger o n
y o u r right h a n d as i f to s a y , " B a l l n u m b e r o n e h a s t r a v e l e d . " N o t e t h a t
y o u r right h a n d d o e s n o t h a v e to g o b e l o w the t o p of the table to l a p the
b a l l , o n l y b e h i n d the c y l i n d e r . A l s o , t o m i s d i r e c t y o u r s p e c t a t o r s , y o u
s h o u l d k e e p y o u r a t t e n t i o n f i x e d o n y o u r l e f t fist m o v i n g o v e r t h e
c y l i n d e r , as y o u r right h a n d l a p s the b a l l .

P r o c e e d t o c a u s e b a l l s n u m b e r t w o a n d t h r e e to t r a v e l i n v i s i b l y i n t o the
c y l i n d e r i n t h e s a m e w a y as y o u d i d f o r b a l l n u m b e r one. O n c e a l l t h r e e
b a l l s h a v e t r a v e l e d , g r i p the c y l i n d e r at t h e left a n d right s i d e s b e t w e e n
t h e i n d e x a n d m i d d l e fingers of y o u r l e f t a n d right h a n d s r e s p e c t i v e l y
( F i g u r e 7) a n d l i f t i t u p t o s h o w a l l t h r e e b a l l s i n s i d e . T h e r e a s o n f o r
g r i p p i n g the c y l i n d e r i n t h i s m a n n e r w i l l b e c o m e a p p a r e n t s h o r t l y .

In p h a s e t w o , y o u are g o i n g to i n v i s i b l y r e m o v e the b a l l s f r o m the

c y l i n d e r , o n e at a t i m e T o d o t h i s , y o u m u s t first p l a c e t h e c y l i n d e r b a c k
o n the t a b l e to c o v e r the three b a l l s . A l t h o u g h that i s w h a t y o u a p p e a r to
do, h e r e is w h a t y o u actually d o . Just before y o u place the c y l i n d e r o n
the table to c o v e r t h e b a l l s , p u s h i n o n t h e b a c k of the c y l i n d e r w i t h y o u r
t h u m b s , b e n d i n g i n the b a c k of i t so that the b a l l s a c t u a l l y g o o u t s i d e the
c y l i n d e r ( F i g u r e 8). N o w release the p r e s s u r e of y o u r t h u m b s . D u e to the
" s p r i n g i n e s s " of the c a r d b o a r d , the c y l i n d e r w i l l s p r i n g b a c k to i t s u s u a l
shape, s h o o t i n g t h e three b a l l s o n the t a b l e i n t o y o u r l a p . P r i o r to p l a c i n g
the c y l i n d e r b a c k o n the table, y o u m a y w a n t t o adjust the p o s i t i o n of the
b a l l s so t h a t t h e y are c l o s e t o g e t h e r a n d n e a r t h e table's e d g e . T h i s w i l l
h e l p i n s u r e the success of this m a n e u v e r .

A s t h e effect s i n k s i n o n y o u r s p e c t a t o r s , r e l a x b y p l a c i n g y o u r h a n d s i n
y o u r l a p . W h i l e there, affix o n e of the six p a p e r b a l l s t o the d o u b l e - s i d e d
8 tape o n the p a l m of y o u r right h a n d a n d f i n g e r p a l m a n o t h e r b a l l i n y o u r
l e f t h a n d . D o t h i s as y o u l e a n f o r w a r d to l o o k i n t o t h e c y l i n d e r as i f t o
i n s u r e that the b a l l s are s t i l l t h e r e T h e n l o o k at y o u r s p e c t a t o r s a n d s a y ,
" I w i l l n o w t r y to r e m o v e the balls f r o m the c y l i n d e r , o n e at a t i m e . "

B r i n g y o u r right h a n d o v e r the c y l i n d e r , i t s b a c k to y o u r spectators, a n d

m a k e a m o t i o n t w o o r t h r e e t i m e s o v e r t h e c y l i n d e r as i f y o u are
i n v i s i b l y p u l l i n g a b a l l o u t of t h e c y l i n d e r ( F i g u r e 9, n e x t p a g e ) . D o n ' t
w o r r y ; the b a l l c o n c e a l e d i n y o u r right h a n d w i l l n o t f a l l o u t d u e to t h e
d o u b l e - s i d e d t a p e . N o w , s t o p a n d m a k e a fist w i t h y o u r right h a n d as
 y o u t u r n i t p a l m u p . If d o n e correctly, the b a l l i n y o u r r i g h t h a n d s h o u l d
n e v e r be s e e n . A t t h i s p o i n t , d r a m a t i c a l l y o p e n y o u r right f i s t t o s h o w
that y o u h a v e i n d e e d r e m o v e d one o f the b a l l s f r o m the c y l i n d e r .

R e m o v e the b a l l f r o m y o u r right h a n d as f o l l o w s : c u r l the fingers of y o u r

p a l m u p right h a n d so t h a t t h e y are v e r t i c a l a n d t h e i r b a c k s f a c e y o u r
s p e c t a t o r s . A s y o u d o so, m o v e y o u r left f i n g e r s , h o l d i n g a h i d d e n b a l l ,
i n t o y o u r right p a l m ( f i g u r e 10). O n c e there, m a n e u v e r t h e h i d d e n b a l l
b e t w e e n y o u r left t h u m b a n d i n d e x finger. Y o u r right fingers s h i e l d t h i s
a c t i o n . B y m o v i n g y o u r left h a n d a w a y f r o m y o u r right h a n d , y o u h a v e
a p p a r e n t l y r e m o v e d t h e b a l l f r o m y o u r right p a l m . Y o u r right fingers
s h i e l d the fact that there i s still a b a l l i n y o u r right h a n d .

Place the b a l l o n the table to the left of the c y l i n d e r . L e a n f o r w a r d to l o o k

i n t o t h e c y l i n d e r as i f t o v e r i f y t h a t o n e b a l l h a s b e e n r e m o v e d . T h e n ,
l o o k at y o u r s p e c t a t o r s a n d s a y , " O n e , " as y o u c u r l t h e fingers o f y o u r
r i g h t h a n d s l i g h t l y , l e a v i n g y o u r right i n d e x finger extended to s i g n a l b a l l
n u m b e r one has traveled. A s y o u d o so, p l a c e y o u r left h a n d b a c k i n
y o u r l a p a n d finger p a l m a n o t h e r b a l l .

R e m o v e the second a n d t h i r d b a l l s f r o m the c y l i n d e r i n the s a m e m a n n e r .

O f c o u r s e , to r e m o v e t h e t h i r d b a l l f r o m y o u r right h a n d , n o s w i t c h i s
necessary. J u s t p l u c k the b a l l f r o m the d o u b l e - s i d e d t a p e a n d p l a c e i t o n
the table. T o finish, l i f t u p the c y l i n d e r to s h o w that i t i s n o w e m p t y .

H o r n i n g i n : A l l things considered, I think this is a pretty n i f t y h a n d l i n g .

T h o s e of y o u f a m i l i a r w i t h S l y d i n i ' s effect w i l l r e c o g n i z e s e v e r a l
differences b e t w e e n h i s a n d G o r d o n ' s effect, the m o s t o b v i o u s b e i n g the
a d d i t i o n of the s e c o n d p h a s e . H o w e v e r , the difference that I b e l i e v e
e n h a n c e s the effect i s the fact that G o r d o n n e v e r p l a c e s h i s h a n d b e l o w
the t o p l e v e l of the c y l i n d e r i n the p r o c e s s of c a u s i n g t h e b a l l s t o t r a v e l
i n v i s i b l y either to o r f r o m the c y l i n d e r as S l y d i n i d o e s . A s a result, i f y o u
p e r f o r m G o r d o n ' s version for magicians f a m i l i a r w i t h the S l y d i n i
o r i g i n a l , y o u s t a n d a g o o d chance of f o o l i n g t h e m . *

Dan Harlan's
NOWUZIT
D H : T h i s effect i s o n e of m y p e r s o n a l f a v o r i t e s . A p e n c i l i s f o r c e d
t h r o u g h a b o r r o w e d d o l l a r b i l l w i t h o u t h a r m i n g it i n a n y w a y . I've
r e w o r k e d a r e w o r k that I w a s s h o w n b y someone w h o h a d seen Jay
Sankey p l a y i n g a r o u n d w i t h it. W e l l , Jay eventually introduced his
v e r s i o n w i t h s o m e c r e d i t g o i n g to D a v i d H a r k e y . I finally t a l k e d t o J a y
a b o u t w h a t I h a d d o n e , a n d h e agrees that i t i s o n l y m e c h a n i c a l l y s i m i l a r
to h i s . I f e d t h a t I've t a k e n t h e effect to t h e p o i n t w h e r e i t i s i n t e r e s t i n g
a n d a m a z i n g . So w h y the u n u s u a l tide? R e a d o n m y f r i e n d s .

T h e o n l y p r o p s r e q u i r e d are a dollar b i l l a n d a s t a n d a r d N o . 2 w o o d e n
p e n c i l . In p e r f o r m a n c e , y o u w i l l p r o b a b l y b o r r o w the b i l l . L a y the b i l l o n
the table w i t h one of its short edges n e a r y o u r spectator a n d request that
h e i n i t i a l t h e b i l l n e a r the e d g e u s i n g y o u r p e n c i l . T a k e t h e b i l l i n y o u r
left h a n d , s p i n it a r o u n d so the i n i t i a l s face y o u , a n d read the i n i t i a l s
a l o u d (but not too l o u d ) . A s y o u d o this, p l a c e y o u r left t h u m b 1/3 o f the
w a y back f r o m the short edge of the b i l l n e a r y o u r s p e c t a t o r a n d g r i p t h e
bill between y o u r left t h u m b a n d fingers, y o u r left fingers g o i n g
u n d e r n e a t h the b i l l . T h e n l i f t the b i l l off the table so that y o u are h o l d i n g
it v e r t i c a l l y . A t this p o i n t , y o u r spectator's i n i t i a l s s h o u l d be f a c i n g y o u at
the b o t t o m of the b i l l .

W i t h y o u r r i g h t h a n d , g r i p t h e b i l l n e a r the b o t t o m b e t w e e n y o u r right
i n d e x f i n g e r a n d t h u m b s o t h a t y o u r i n d e x finger i s o n y o u r s i d e of t h e
b i l l a n d y o u r t h u m b a n d o t h e r right fingers are o n t h e o p p o s i t e s i d e .
Y o u r r i g h t h a n d w i l l b e p a l m d o w n ( F i g u r e 1, p r e v i o u s p a g e ) . A s y o u
g r i p t h e b i l l r e m a r k , " I c a n t e l l a n i n t e r e s t i n g t h i n g f r o m the w a y y o u ' v e
w r i t t e n y o u r i n i t i a l s h e r e . I c a n tell that t h i s i s y o u r m o n e y . " W h i l e y o u r
a u d i e n c e i s c o n s u m e d b y u n c o n t r o l l a b l e l a u g h t e r , y o u w i l l create a secret
f o l d by p e r f o r m i n g the f o l l o w i n g actions, w h i c h l u c k i l y take o n l y a
c o u p l e of s e c o n d s .

F o l d t h e l o w e r 2/3 o f t h e b i l l u p o v e r y o u r l e f t t h u m b b y t u r n i n g y o u r
right h a n d s o i t s p a l m i s f a c i n g y o u ( F i g u r e 2). W h e n t h e b i l l i s a r o u n d
y o u r t h u m b , r e m o v e y o u r t h u m b f r o m the f o l d a n d crease the b i l l so that
a l m o s t e x a c t l y 1/3 of i t i s i n f r o n t ( t o w a r d y o u r spectator) a n d 2/3 of i t i s
i n b a c k (facing y o u ) . A l i t t l e practice w i l l g u a r a n t e e consistent results.

N o w place y o u r left t h u m b onto the crease, so that y o u r left h a n d is

firmly h o l d i n g t h e b i l l f r o m i t s c e n t e r t o i t s l e f t e d g e . T h e n s l i d e y o u r
right i n d e x finger d o w n i n t o t h e f o l d ( F i g u r e 3). T u r n y o u r right h a n d
p a l m d o w n a n d c o n t i n u e b y s q u e e z i n g t h e f o l d f l a t b e t w e e n y o u r right
thiuTtb a n d i n d e x f i n g e r f r o m t h e c e n t e r o f t h e b i l l t o i t s r i g h t e d g e
( F i g u r e 4). S t r a i g h t e n the o t h e r fingers of y o u r r i g h t h a n d a n d rotate y o u r
left h a n d a n d the b i l l 1 /4 r u m c l o c k w i s e w h i l e m a i n t a i n i n g p r e s s u r e o n
t h e f o l d w i t h b o t h h a n d s . Y o u r right h a n d r e m a i n s s t a t i o n a r y . T h i s
causes the f o l d to b e g i n to p u c k e r a r o u n d y o u r right t h u m b ( F i g u r e 5). It
i s i m p o r t a n t t h a t i t p u c k e r s e v e n l y , s o y o u w i l l n e e d t o find t h e e x a c t
finger p o s i t i o n s that w o r k best f o r y o u .

A l l o w y o u r right m i d d l e finger t o h e l p g r i p t h e b i l l a g a i n s t y o u r right

i n d e x finger. L o o s e n y o u r left h a n d g r i p a n d r o t a t e y o u r l e f t h a n d 1 /2
t u r n c o u n t e r c l o c k w i s e so that it e n d s p a l m u p , t h u m b a n d i n d e x finger at
the center of the c r e a s e d e n d of the b i l l ( F i g u r e 6). A s y o u p u l l y o u r right
t h u m b a n d i n d e x finger o u t of the p u c k e r e d f o l d , s q u e e z e the c e n t e r o f
the c r e a s e d e n d b e t w e e n y o u r left t h u m b a n d fingers. F i n i s h b y r o t a t i n g
y o u r l e f t h a n d a n d t h e b i l l a n o t h e r 1/4 t u r n c l o c k w i s e a n d c r e a s e t h e
e x p o s e d f o l d w i t h y o u r right fingers a n d t h u m b , w h i l e y o u r l e f t t h u m b
creases the f o l d a l o n g the t u c k e d - i n corner against y o u r left fingers
( F i g u r e 7). T h e t u c k e d - i n c o m e r m u s t b e as n e a r to a 45° slant as p o s s i b l e .
A g a i n , a l i t t l e p r a c t i c e w i l l g u a r a n t e e c o n s i s t e n t results.

T h a t c o m p l e t e s t h e secret f o l d , w h i c h i s n o w h i d d e n i n y o u r l e f t h a n d .
D o i t c a s u a l l y , w i t h n o h e s i t a t i o n ; i t s h o u l d a p p e a r as i f y o u are m e r e l y
f o l d i n g the b i l l a n d t u r n i n g it a r o u n d . Y o u s h o u l d n o w be h o l d i n g the b i l l
b e t w e e n y o u r left i n d e x finger a n d t h u m b at the center of the creased e n d
of t h e b i l l , w i t h y o u r o t h e r t h r e e l e f t fingers c o v e r i n g t h e " m i s s i n g "
c o m e r . T h e 2/3 p o r t i o n o f t h e b i l l f a c e s y o u , w h i l e y o u r s p e c t a t o r sees
his initials o n the exposed l o w e r end.

T a k e the p e n c i l i n y o u r right h a n d , p o i n t to the spectator's i n i t i a l s o n the

f r o n t of the b i l l , a n d i n s e r t the p e n c i l i n t o t h e secret t u c k e d - i n corner. T o
f a c i l i t a t e t h i s a c t i o n , h o l d t h e p e n c i l p a r a l l e l to t h e f l o o r w i t h t h e p o i n t
t o u c h i n g the i n i t i a l s . M o v e the p e n c i l t o w a r d y o u r left p a l m u n t i l the
p o i n t i s a b o u t a n i n c h p a s t the left e d g e o f the b i l l ( F i g u r e 8, next p a g e ) .
R o t a t e t h e p o i n t u p w a r d i n t o the secret t u c k e d - i n c o m e r u n t i l the p e n c i l
i s p e r p e n d i c u l a r to the f l o o r ( F i g u r e 9, next page).
C o m m e n t o n the a m a z i n g strength of the fibers i n the b i l l . Squeeze the
p o i n t of the p e n c i l w i t h y o u r l e f t f i n g e r s a n d t h u m b t h r o u g h the b i l l a n d
t w i s t the p e n c i l w i t h y o u r r i g h t h a n d . T h e f r i c t i o n o f t h e p e n c i l a g a i n s t
the b i l l causes a n o i s e w h i c h w i l l c e r t a i n l y w o r r y y o u r s p e c t a t o r .
Reassure h i m w i t h , " Don't w o r r y ; y o u r b i l l can take i t . " T h e n p u s h the
p e n c i l u p " t h r o u g h " the b i l l a b o u t 1/2 i n c h s o that the p o i n t s h o w s . A c t
s u r p r i s e d a n d c o n t i n u e to p u s h the p e n c i l o u t about t w o i n c h e s .

A n d n o w the reason for the u n u s u a l t i t l e W h i l e h o l d i n g the p e n c i l a n d

b i l l w i t h y o u r l e f t h a n d , f o l d t h e d a n g l i n g l o n g e n d o f t h e buT u p o v e r
y o u r l e f t t h u m b as y o u d i d b e f o r e ( F i g u r e 10). S t o p w h e n y o u n e a r l y
expose the h i d d e n i n n e r folds to yourself. A s y o u r e m o v e y o u r left
t h u m b f r o m t h i s l a t e s t f o l d , r e g r i p t h e b i l l at t h i s f o l d b e t w e e n y o u r
t h u m b a n d i n d e x a n d m i d d l e f i n g e r s of e a c h h a n d a n d c r e a s e i t . A s y o u
d o so, t i p b o t h h a n d s d o w n s o t h a t t h e b i l l i s p a r a l l e l t o t h e f l o o r . T h e
p o i n t at w h i c h t h e t u c k e d - i n c o m e r m e e t s t h i s c r e a s e i s u n d e r y o u r l e f t
thumb, so everything is secured.

W i t h the f o l d s flattened, d i s p l a y t h e spectator's i n i t i a l s o n the t o p l a y e r o f

the b i l l . Y o u can even release y o u r right h a n d g r i p o n the b i l l for a
s e c o n d , i f y o u l i k e ( F i g u r e 11). A t t h i s p o i n t , the b i l l i s f o l d e d l i k e a " Z "
w i t h a p e n c i l r u n n i n g t h r o u g h i t . T h a f s t h e r e a s o n for the " Z " i n t h e title
(as f o r the " U " , w e w e r e j u s t t r y i n g t o b e cute). T h i s i s a t r e m e n d o u s l y
d e c e p t i v e d i s p l a y . Y o u w a n t y o u r s p e c t a t o r to r e m e m b e r t h e i m a g e o f a
bill w i t h a pencil t h r o u g h it, a n d I think they w i l l .

A f t e r y o u r audience is i m p r e s s e d w i t h the d a m a g e y o u ' v e caused,

a p o l o g i z e t o t h e o w n e r o f t h e b i l l a n d c o n t i n u e , " L u c k i l y , I've b e e n
s t u d y i n g the art of p s y c h i c h e a l i n g . " P l a c e b o t h y o u r i n d e x fingers o n t o p
of t h e b i l l a b o v e the p o i n t w h e r e t h e p e n c i l e x i t s t h e t u c k e d - i n c o m e r .
T h e t i p s of y o u r i n d e x f i n g e r s s h o u l d r e s t a g a i n s t t h e b u m p i n t h e t o p
l a y e r c r e a t e d b y t h e p e n c i l . Y o u r right m i d d l e a n d r i n g f i n g e r s g o b e l o w
the t o p l a y e r d i r e c t l y u n d e r y o u r right i n d e x f i n g e r , f i n g e r t i p s s t r a d d l i n g
t h e p e n c i l a n d f i n g e r s s t r a d d l i n g t h e f o l d t h e r e (the p o i n t at w h i c h t h e
p e n c i l exits the t u c k e d - i n c o m e r ) . Y o u r l e f t m i d d l e a n d ring f i n g e r s t a k e
the s a m e p o s i t i o n b e l o w the top l a y e r d i r e c t l y u n d e r y o u r left i n d e x
finger, h o w e v e r there i s n o f o l d there to s t r a d d l e b e c a u s e of the t u c k e d - i n
c o m e r . T h e p o s i t i o n of y o u r fingers w i l l c a u s e the top l a y e r o f t h e b i l l to
m o v e u p w a r d s l i g h t l y . F i g u r e 12 d e p i c t s h o w y o u r fingers s h o u l d b e
s i t u a t e d f r o m y o u r spectator's s i d e of the b i l l .

N o w , u s i n g y o u r right t h u m b o n t h e e r a s e r o f t h e p e n c i l , c o n t i n u e
p u s h i n g i t " t h r o u g h " t h e b i l l . W h e n y o u r right t h u m b c o n t a c t s t h e
h i d d e n f o l d s ( F i g u r e 13), u s e i t to c r u m p l e t h e m as the p e n c i l i s p u s h e d
d e a r of t h e b i l l . P l a c e y o u r left t h u m b o n t o p o f the c r u m p l e d f o l d s a n d
s t r a i g h t e n t h e m . H o w e v e r , k e e p y o u r right t h u m b o v e r t h e s p o t w h e r e a
h o l e s h o u l d be. Y o u r l e f t h a n d t h e n p u l l s t h e b i l l o p e n a n d f l a t t e n s i t .
R u b t h e b i l l w i t h y o u r right t h u m b a n d s l i d e y o u r right t h u m b a w a y t o
reveal that the b i l l h a s healed. H a l l e l u j a h ! H a n d the bill b a c k to y o u r
spectator w i t h y o u r t h a n k s a n d a s i g h of relief.

H o m i n g i n : T h i s m e t h o d f o r the f o l d a n d d i s p l a y , to m e , m a k e s a g r e a t
p r e m i s e m o r e l o g i c a l a n d c o n v i n d n g . If y o u w o r k f o r t i p s , t h i s w i l l
b e c o m e o n e o f y o u r f a v o r i t e d o s i n g e f f e c t s . If n o t , y o u H s t i l l l o v e t o
p e r f o r m i t f o r the great r e s p o n s e i t gets. T h e r e are o t h e r w a y s t o r e s t o r e
t h e b i l l ( s u c h as r e m o v i n g the p e n c i l a n d s n a p p i n g t h e b i l l o p e n ) , b u t I
f e d the s l o w , o p e n restoration h e l p s focus attention a w a y f r o m the
m e t h o d a n d o n t o the m a g i c *
 FROM THE LABYRINTH
M L : I don't remember w h o exactly told m e the f o l l o w i n g story, but I d o
r e m e m b e r that w h o e v e r i t w a s s w o r e i t w a s t r u e Y o u be t h e j u d g e .

THE MINOTAUR A s I r e c a l l , the s t o r y w a s a b o u t a m a g i c i a n w h o u s e d to p e r f o r m the t r i c k

"Half Bull Half Magic" c a l l e d The Sands of Egypt That's the o n e w h e r e the m a g i c i a n p o u r s three
M a r v Leventhal different colors of s a n d i n t o a container of l i q u i d a n d then reaches i n t o
E d tor-iri-Chief the l i q u i d a n d p u l l s out a h a n d f u l of each color of s a n d c o m p l e t e l y d r y .
Because this m a g i c i a n p e r f o r m e d the trick often, h e p r e p a r e d large
Dan Harlan
batches o f t h e s a n d i n a d v a n c e H o w e v e r , h e h a d a p r o b l e m c o n v e n i e n t l y
Creative G e n i u s & Illustrator
s t o r i n g t h e s a n d s o i t c o u l d b e e a s i l y u s e d at each s h o w . Y o u see, d u e t o
the nature of the trick, i t w a s necessary that the storage container h o l d
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o r m o n e y o r d e r p a y a b l e to T H E though, he s o m e h o w discovered that the m a l e contraceptive device
M I N O T A U R and mail it to:
(that's a c o n d o m ) m e t h i s n e e d s (to s t o r e s a n d , t h a t i s ) . E a c h o n e h e l d
a b o u t a h a n d f u l o f s a n d , a n d o n c e t i e d c l o s e d , c o u l d be e a s i l y o p e n e d .
THE MINOTAUR
P . O . B o x 25
A s t h e s t o r y goes, i t w a s a F r i d a y e v e n i n g w h e n t h e m a g i c i a n m a d e h i s
B r e c k s v i l l e , O H 44141-0025
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r u s h e d off to the nearest drugstore. A t the t i m e of this story, c o n d o m s
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( t r i c k s , bits of business, essays,
comments, anecdotes, fan m a i l , etc., a n d for t h e m . Therefore, p r i o r to g o i n g to the d r u g s t o r e , the m a g i c i a n
m a g i c a l r a m b l i n g s i n general) are not c a l c u l a t e d t h e q u a n t i t y h e n e e d e d , so h e c o u l d c a r r y o u t h i s p u r c h a s e as
only welcome, but encouraged i n order to e x p e d i e n t l y as p o s s i b l e
a s s u r e t h e f u t u r e v i a b i l i t y of t h i s fine
p u b l i c a t i o n . Y o u r s u b m i s s i o n s w i l l be U p o n a r r i v i n g at t h e d r u g s t o r e , h e a p p r o a c h e d t h e c o u n t e r a n d r e q u e s t e d
returned if a self-addressed, stamped a g r o s s o f c o n d o m s (that's 144 o f t h e m ) f r o m t h e p h a r m a c i s t . A l t h o u g h
envelope is included. t h i s w a s a l a r g e r t h a n a v e r a g e request f o r t h i s i t e m ( y o u c a n just i m a g i n e
w h a t w a s g o i n g t h r o u g h the pharmacist's m i n d ) , w i t h a s l i g h t l y raised
P e r m i s s i o n s : N o part of this publication
e y e b r o w , the p h a r m a c i s t g l a d l y f i l l e d t h e o r d e r .
m a y be reproduced, i n any form, by any
m e a n s , be i t e l e c t r o n i c , m e c h a n i c a l ,
The magician r u s h e d h o m e a n d i m m e d i a t e l y began u n w r a p p i n g the
p h o t o c o p y i n g , or even a pencil w i t h o u t
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In a d d i t i o n , t h e m a n u f a c t u r i n g a n d n e a r i n g t h e e n d of t h i s e n d e a v o r , h e d i s c o v e r e d that t h e p h a r m a c i s t h a d
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herein are reserved by their contributors other c o m m i t m e n t s h e h a d over the w e e k e n d (magic s h o w s , n o doubt),
and T H E M I N O T A U R the m a g i c i a n w a s u n a b l e t o r e t u r n to the d r u g s t o r e to t e l l t h e p h a r m a c i s t
o f h i s error u n t i l t h e f o l l o w i n g M o n d a y .
Advertising: W r i t e to T H E M I N O T A U R
f o r a d v e r t i s i n g i n f o r m a t i o n . Please be So a l o n g c a m e M o n d a y , a n d the m a g i c i a n r e v i s i t e d the drugstore. H e
s u r e to i n c l u d e a t e l e p h o n e n u m b e r
greeted the p h a r m a c i s t b y s a y i n g , " R e m e m b e r m e ? " to w h i c h the
where y o u can be reached
pharmacist replied, " Yes." I mean, h o w c o u l d he not h a v e remembered
h i m ? A n y w a y , the m a g i c i a n proceeded to e x p l a i n that h e h a d s o m e h o w
THE M I N O T A U R
been shorted three c o n d o m s . The p h a r m a c i s t , o b v i o u s l y embarrassed b y
Copyright 1989
by M a r v i n J. Leventhal h i s error, i m m e d i a t e l y s u p p l i e d the m i s s i n g c o n d o m s . T h e m a g i c i a n w a s
& Daniel D . Harlan p l e a s e d b y t h e pharmacist/s q u i c k r e c t i f i c a t i o n o f t h e error, so h e t h a n k e d
A l l Rights Reserved h i m a n d began to leave. H o w e v e r , the p h a r m a c i s t , still l a m e n t i n g h i s
Printed i n the U.S.A. error, f u r t h e r a p o l o g i z e d to the d e p a r t i n g m a g i c i a n b y s h o u t i n g after
12/89-5 him, " I ' m t r u l y sorry for the mistake. I h o p e it didn't r u i n y o u r
w e e k e n d . " I g u e s s i t just goes to s h o w w h a t a m a g i c i a n w i l l go t h r o u g h
to p r a c t i c e safe m a g i c ! ^