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rai Bie 1 COB KY Lbs ri aren! Lv ARE pick ae cou! wus pan nee, A pel pie AN ea Ne! BLL oo jh Spe pay ais jan NAT ! | on i co Ly con Mf anit 1 oR ded \ , oe use py on a oe I Done Aes so 0 oni PH | mle | a Ei cco 12 D CoN! PA dian “‘pAV! via a P FI aA ane a 7 ee Jeli tant ROC eat A ae fh nepy Bee Pais ml outs a my ATM ll SPECTACLE A Compilation of Modern Wonders written by Stephen Minch illustrated by Sandra Kort pre-illustrative photography Debbie Murray posed by Ron Bauer Bruce Florek published by L&L PUBLISHING Larry Jennings and Louis Falanga FIRST EDITION Copyright © 1990 L&L Publishing Laser typesetting: Sandra Kort Printed and bound in the United States of America No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechani- cal, photocopying, recording or any information storage and retrieval system now known tobe invented, without permission of the publishers. CONTENTS CHAPTER ONE: CARDS THE CINDERELLA CARD-STAB - Lisa Menna THE TSUNAMI CARD RISE - Rudy Coby... DEADLIER THAN THE MALE - Geoff Latta BABY FACE - David Regal .. THE FACE-UP RUB-A-DUB-DUB VANISH ~ Jay Sankey. COLOR (RE)SET - Louis Falanga NEVER THE TWAIN SHALL MIX— THE COFFIN CHANGE - Ray Kosby ACASE OF MISTAKEN IDENTITY - Bill Goodwin THE DOUBLE-LIFT PASS - Richard Kaufman ECONOMY FLIGHT - David Solomon... ON CALL - Paul Cummins... CHAPTER TWO: COINS COUNTERFEITER’S SPELLBOUND - Tommy Wonder FROM THE ELFIN HOARD - Geoff Latta. ELBOW, KNEE AND NECK - Dary] LIMBO IN CHINA -~ David Roth SPINNING SILVER - Peter Samelson CHAPTER THREE: CLOSE-UP MISCELLANY CONFESSIONS OF A BUBBLE-GUM ADDICT - Mike Montgomery ...103 CARBON COPY - Jeff McBride .... THE NEW THEORY CHOP CUP - Finn Jon. THE SICILIAN DEFENSE ~ Rocco Silane FIREFLY ~ Michael Rubinstein ..... LINGERING ILLUSION - Jay Sankey CHAPTER FOUR: MENTALISM. THE JANUS PREDICTIONS - Ray Grismer HITCHHIKER - Gary Lee Williams LASTING IMPRESSION - Jay Sankey THE HAND THAT SPEAKS - Jonathan Pendragon. CHAPTER FIVE: STAGE THE ASTAIRE CHANGE - James Dimmare.. SOLID-STATE SALT POUR - Rick Anderson..... CHAPTER ONE Lisa Menna Rudy Coby Geoff Latta David Regal Jay Sankey Louis Falanga Ray Kosby Bill Goodwin Richard Kaufman David Solomon Paul Cummins CARDS THE CINDERELLA CARD-STAB LISA MENNA What a welcome phenomenon is this magician, this Lisa Menna. Magicians have been bemoaning for decades the scarcity of women performers in the field. The topic comes up with regularity: Why areso few women performers drawn to magic? Reasons are suggested that range from sex roles to male chauvinism; none of them is wholly convincing. Yet the majority of male magicians voice a desire to see more women in the craft — not as assistants but as full-fleged performers. Of the small number of courageous women who have striven for recognition as magical performers, itis sad to say that, over the last century, only a scant few have proven satisfactory. So many fall prey to stereotypical stage personalities: the cloyingly cute, the overly brassy, or the femme fatale. Ofcourse, many males make similar mistakes in choosing their characters. But within a much smaller population, there are dismayingly few really good women magicians. So along comes Lisa Menna: attractive, charming, warm, bubbling with enthusi- asm, distinctly female, and very much her own person. There is nothing stereotypical about Ms. Menna, She has a charisma both on and off stage. You catch yourself smiling at her sprightly confidence. But there is more here than an engaging personality. Ms. Menna performs magic, good magic, magic that fools the daylights out of her fellow magicians as wellas the public. She demonstrates a mastery of sleight-of-hand combined with a brand of misdirection that is diabolically cunning. And most magicians do not realize how thoroughly they have been beguiled until she bowls them over with some impossibility that they didn’t expect. Thave seen Ms. Menna on several occasions fool an entire roomful of well-versed magicians. Indeed, I saw her thoroughly take in such a gathering with the trick you are about to read. That performance and the response it received were documented, along with a brief explanation of the method, on the New York Magic Symposium Video Tape released in 1986. Thereare elements in Ms. Menna’s trick that are designed particularly for awoman performer. They can be translated for a male's use, but the translation is never quite as good as the original. That does not mean that we men cannot use and learn from Ms. ‘Menna’s work. But it is hoped that, by publishing material with a feminine bias, in a literature that is almost completely male dominated, other women magicians will be SPECTACLE encouraged to think for themselves and strive for the originality that Ms. Menna has attained. Then perhaps, such observations as those made above will no longer be necessary. EFFECT: Two cards are freely selected and signed for later identification. They are then returned to the deck and lost. The cards are spread face-down on the floor and mixed around. The performer then steps forward onto the cards. When she raises one foot a card is seen impaled on the spike-heel of her shoe. This card is one of the signed selections. The card is removed from the heel. Then, with obviously empty hands, the performer removes her other shoe and withdraws a folded card from inside. This card is unfolded and found to be the second signed selection. METHOD: The Card in Shoe was first published in Expert Card Technique (pp. 300-301) in 1940. It is a strong effect that has an inherent element of goofiness. Ms. Menna has taken this plot and combined it, in a logical and ingenious fashion, with the classic card-stab. Both discoveries are memorable and work in combination with each other, rather than in competition. While this trick could be performed in flat-heeled shoes, the idea of impaling the first card on a spiked heel is far more appealing than having it merely stick to the bottom of the shoe. Therefore, for best effect, you should be wearing high or mid-height heeled shoes when performing this. It is important that the shoe be of the slip-on sort, so that the heel of the foot can be easily freed from the shoe when necessary. More will be said about this later. Some type of adhesive must be put on the heel of the rightshoe. Ms. Mena uses a generous blob of magician’s wax. Fun-tac, double-sided tape or Avery glue-spots can also be used. The glue spots are particularly useful — one can be affixed to the heel and the paper tab left intact. This tab will protect the spot of glue as you walk, and can be removed just before performance. Whichever substance is chosen, one must learn to walk with the majority of one’s weight on the ball of the right foot, so that the adhesive is not spoiled before the card stab. Aside from this simple preparation, you will need a deck of cards and a permanent marker that will write on them. The action is begun with the selection of the first card. Have a card freely removed from the deck, signed on its face and shown to the audience. You step away while this is done. This card is then returned to the deck and efficiently controlled to the bottom. There are any number of ways to accomplish this; e.g., the pass, Ovette master move, convincing control, diagonal palm shift, over- hand-shuffle control, etc. THE CINDERELLA CARD-STAB Immediately approach another person and have a second card chosen and signed. Again, as the card is signed and shown to the audience, step away and turn your back to the proceeding. It is during this scrupulously fair action that the first selection is folded in half in preparation for its insertion into your shoe. The deck should be held in overhand-shuffle position in the left hand. As you begin to turn, actually execute a brief, casual shuffle, stripping the top and bottom cards off first and then shuffling the balance of the pack onto them. This retains the signed card at the face of the pack. Hold the deck ina near horizontal position as the shuffle is performed, so that the signed card is not seen. About the time your back is fully to the audience the shuffle should be concluded. Thedeckis tipped toa vertical position, face toward theright. Grasp it with the right hand, thumb on the inner end, fingers on the outer, and the forefinger curled onto the face. Separate the inner end of the selection from the pack with the right thumb and bend it forward onto the outer end, doubling the card over widthwise (Figure 1). The curled forefinger aids in starting the fold, then moves aside. Immediately grasp the outer end of the pack in the right hand — thumb on the face, fingers on the back — and turn it end over end, face-down onto the left palm. The bent card is clipped by the thumb to the face of the deck as this is done (Figure 2). Press down firmly on the pack with the left thumb, flattening the folded card beneathand creasing it. The entire folding procedure con- sumes no more than a few seconds. The SPECTACLE momentitis completed, hold up the left hand with the deck in view near shoulder height (Figure 3), so that the audience can beassured that nothing is being hidden while your back is to them (a considerate, if slightly tardy, gesture on your part). The folded card is completely hidden under the inner end of the deck by the left fingers. Afterthesecondselectionhas been signed and displayed to the audience, turn around again and have it returned to the cen- ter of the deck. Bring it secretly to the top of the pack with aside steal. \e Grasp the deck at the ends @ from above with the palm-down righthand and liftit from the left hand. The folded card is retained in left-hand finger palm. Step forward with your right foot and gracefully kneelas the right hand ribbon spreads the face-down deck widely on the floor in front of you. In kneeling, the knees do not actually touch the floor; rather, your whole weight is balanced on the balls of your feet as you bend at the knees and hips. While in this position the folded card is subtly loaded into the left shoe. As you kneel, the left hand naturally steadies you, contacting the floor near the left foot. Being poised on the ball of that foot, the foot becomes arched and the heel rises or springs from your shoe with little or no effort. It is therefore an easy tasktoslip thefolded card into the shoe while in this position (Figure 4). The loading of the card is completely hidden within thenaturalaction of kneel- ing down; andalleyes are drawn to the right hand as it spreads the cards on the floor. THE CINDERELLA CARD-STAB All the work has, at this point, been accomplished. You are miles ahead of your audience. After ribbon spreading the deck, use both hands to push the cards around on the floor in a jumbled mess. As you do this, bring your right fourth finger down on the top card of thespread (the second selection) and keep it there as the hands circulate, mixing the cards. (This is similar to the action used in the Matt Schulien spread force.) When you are finished, leave the selection at some spot near you in the haphazard spread —a location that you can easily identify. ‘As you spread the cards around, ask the audience if they remember playing Go Fish as children, and how they used to spread the cards out like this to mix them? You recall this childhood memory and another in which you pretended you hada pair of magic slippers, like Cinderella or Dorothy, and that by clicking your heels together three times, wonderful things could happen. While relating this, you have stood up once more and stepped slightly forward onto the cards. The right heel of your shoe is brought down directly onto the second selection, butthis must be done casually, withouta hint of premeditation or design. When you mention clicking your heels together, do so. Then step forward with the right foot and notice the card stuck to its heel. Pretend mild surprise at this and lift the foot so that the face of the selection can be seen, apparently impaled on the heel of your shoe. Pull the card from the heel and display it. Ascertain that this is the second spectator’s card. Then turn to the first spectator. Gaze at him meaningfully and smile as you gracefully remove your left shoe with an obviously empty hand. Reach into the shoe and cleanly withdraw the card found there. Then dramati- cally unfold it to reveal the first signed selection. A stronger applause cue than this is difficult to imagine. Notice how Ms. Menna has changed the moment of the load so that it comes well before the production of the card. The psychology is admirable and the handling direct. Several good lessons can be learned from them. THE TSUNAMI CARD RISE RUDY COBY One of the genuine pleasures of being involved with magic is having the opportunity to watch talented new performers appear on the scene without fanfare or warning. It is worth sitting through all the hopefuls, struggling with their mediocrity and lack of vision, for the thrill of witnessing that scarce original that can appear from anywhere at any time. Rudy Coby was one of those rewarding moments in 1987. I first became aware of Mr. Coby through the journal reports of the comedy competitions at the 1987 Las Vegas Desert Seminar. Facing some exceptionally stiff competition, Mr. Coby, young and unknown, placed among the top five with a terrifically novelact that won over audiences and judges. It was particularly commented on that Coby showed the courage and the wisdom to do only three-and-a-half minutes when fourteen were allowed. He retained confidence in the act he had developed, and avoided the temptation to dilute it to fill the maximum time allotted. The originality of his act was also recognized by the entertainment community. Immediately after the competition Mr. Coby found steady and good paying work with his unique and very funny act asa four-legged man witha body that stretches to thirteen feet. He has been elected the Official GQ Magician for Gentleman's Quarterly, has appeared at several prestigious trade-shows and night clubs, and has entertained on Japanese television. He received a warmly favorable review in Variety for his work, and has recently been featured in shows in both Tahoe and Atlantic City. In talking with Mr. Coby, one discovers that, as bizarrely original as his act is, he has another planned that makes the present one look pale in comparison. He also does one of the most excruciatingly funny close-up sets I've ever witnessed; excruciating in the sense that you are squirming with discomfort as you are laughing. The only act of comparable effect Ican remember is Harry Anderson's now classic Needle Through Arm presentation. Mr. Coby resurrects a repellent side-show stunt, but performs it in such ‘a blackly funny fashion that the humor almost makes you forget the grotesquery of what is being done — almost. Mr. Coby's contribution to this collection is a unique and fascinating method for performing the Rising Card, based on an idea by Jack McMillen. SPECTACLE AEEFECT: A card is freely chosen, noted and returned to the center of the pack With the deck held in one hand, the chosen card slowly rises from its place near the center, until itis at least half way out of the pack. The deck is immediately fanned to display the selection conclusively risen from the middle; the card and deck can be immediately taken by the spectator and examined. The deck is ordinary and no threads are used. The method is entirely impromptu and is completely unlike the “On the Up and Up” method devised by Robinson, Krenzel and Kaufman. Magicians will be especially intrigued to learn that Mr. Coby’s method also makes it possible to have several cards rise simultaneously from various locations in the pack. METHOD: The underlying principle exploited here was discovered by Jeff McBride, who shared it with Mr. Coby. It remained to Mr. Coby to devise a satisfactory method of attaining the required position necessary to perform the rise, and to refine the general handling. The handling is an outgrowth of a Jack McMillen variant of his plunger card-rise (ref. Expert Card Technique, pp. 209- 212). In this variant (to my knowledge; unpublished) Mr. McMillen wrapped his hand and most of the deck in a handkerchief before performing the rise. J. K. Schmidt also explored the principle in his “The Rising Packet” (ref. The Impromptu Close-Up Card Rise, pp.30-33). Neither Mr. McBride nor Mr. Coby were aware of McMillen’s or Schmidt's previous work. ‘The trick, as refined by Mr. Coby, begins by having a card chosen and noted. As this is done the deck is squared face-down into left-hand dealing position. Take the selection from the spectator and insert it into the center of the pack. Mr. Coby emphasizes the fairness of this placement by pausing to display the card projecting for nearly half its length from the outer end of the deck. ‘The right hand then comes over the face-down pack and apparently pushes the selection flush. Actually, the card is fed through the deck diagonally and brought to a position widely injogged from the inner end of the pack. The action is nearly identical to that used for the Erdnase diagonal palm shift: The right fingers push the selection straight into the pack, until ess thanan inch protrudes fromthe front end. Atthis point the right forefinger exerts more pressure on the left front corner of the selection, swinging the card leftward at an angle as it enters the deck (Figure 1). This causes the left outer corner of the card to project slightly from the left front corner of the pack. THE TSUNAMI CARD RISE The tip of the left thumb engages the corner of the card and pulls it back and through the deck as the left fingers slide back along the sides of the pack in a squaring action. Theangled card is brought toa position where it projects from theinner end of the pack for about half its length (Figure2). The right hand holds thedecksteady fromabove during the squaring action, consequently hiding the maneuvering of the card. Theleft fourth finger immediately contacts the right edge of the jogged card near center and swings it into alignment with the length of the pack (Figure 3). The right hand now grasps the front end of the deck, fingers on the face, thumb on the back, and the left hand shifts its grip, turning palm-down as it grasps the pack by its sides at the inner end (Figure4). As this grip is taken, the left hand tums the deck ninety degrees clockwise, bringing its left side nearest the audience. In this position the widely jogged selection is com- pletely hidden by the left fingers. In a continuing action the right fingertips extend, secretly pushing the card on the face of the deck to the leftand intoalign- ment with the jogged selection (Figure 5). The left end of the bottom card should rest a frac- tion of an inch beyond the end of the selection. SPECTACLE The left hand now relinquishes its grip on the pack and the right hand swings the deck toa vertical position, face toward the audience and jogged cards uppermost (Figure 6, a performer's view). The extended right fingers cover the deck proper, and the jogged card atts face is mistaken for the deck itself (Figure 7, audience's view). It will be obvious that this illusion is only deceptive from the front. No spectators should be on either side as the rise is performed. You are now in position to effect'the apparent rise of the selection from the center of the pack. The right hand is shaken back and forth in a path approxi- mately three or four inches in length. Under cover of this gentle shaking, the right fingers curl in, drawing the card on the face of the pack slowly down until it is even with the deck proper. Figures 8 and 9 suggest the action. The bottom end of the pack is held steady on the base of the fingers as the forward card is pulled downward. As this one card is lowered, the right hand rises impercep- tibly an equal distance. This subtle lifting of the hand is important to the success of the illusion. The selection is apparently observed to rise from the center of the pack. If the forward card is drawn straight down, the illusion is entirely convincing from the front. -12- THE TSUNAMI CARD RISE Attthe end of the rise, the hand comes to a stop momentarily. Then, after a brief pause, it fans the deck, further displaying the position of the selection in the center of the pack. The right hand is in proper position, with little or no adjustment, for a one-handed fan at the finish of the rising action. The deck is then lowered to a face-down position and held out so that the chosen card can be removed by the spectator. The deck can also be given out, if desired. When Mr. Coby performs this effect for magicians, he will often remove the aces from the pack and insert them at four different spots in the center of the deck. Then he performs the “Tsunami Card Rise” with all four aces, causing them to rise from separate parts of the pack. It will be found that the actions described for one card can be done almost as easily with several. This simultaneous rise of cards from the pack is especially mystifying to one’s peers. Few things are perfect, and Mr. Coby’s method for the rising card is no exception. It is only effective if viewed from the front. However, this angle restriction can be accommodated in many circumstances, and the obvious strengths of the method, particularly its impromptu nature, make it well worth learning for those times when the circumstances are right. -1B- DEADLIER THAN THE MALE GEOFF LATTA Geoff Latia is one of New York City's technical virtuosos. Those who have witnessed his skill with both cards and coins speak of him with more than a little respect. While there are many fine close-up performers who work with both cards and coins, each is surpassing in either one medium or the other. Geoff Latta is remarkable because of his thorough expertise with both. Mr. Latta’s card technique is comparable with the best in the craft. His coin technique is of the same calibre. It is rare to find such dual mastery in one person. Mr. Latta’s work has appeared in several of magic’s finer journals, and in Richard Kaufman's CoinMagic and Cardworks, Mendoza’s Portfolio No. 1, the New York Magic Symposium Collection Four and Marlo’s Magazine. I am delighted to present two contributions from Mr. Latta in this anthology: one item with cards, the other with coins. Both are exceptional examples of highly visual magic accomplished by combination of classical techniques and artistic structure; and both have already been recognized as such by those who have witnessed them. EFFECT: The two red queens are removed from the deck and laid face-up on top of it. Another card is freely chosen by a spectator, noted and returned to the center of the pack. It is explained that the red queens will travel down into the deck, search for the chosen card and bring it back. The performer passes his hand over the pack and the queens vanish from the top. With another pass of the hand they reappear — with a face-down card between them. When it is turned up it is found to be the selection. Itis proposed that the effect be performed again, but ina manner that better permits the audience to see the queens at work. The spectator is asked to place his card oncemorein the center of the pack. The queens are then positioned face- up, oneat the top and the other at the bottom of thedeck. Suddenly, they vanish in full view. When the deck is spread, the queens are found in the center, converged upon a single facedown card. This card is turned up and the selection is again seen to be trapped between them. The performer suggests that perhaps the queens struck too fast for the spectators to follow them. So the effect will be repeated. third time, ina manner -15- i i i a SPECTACLE that will make it possible for the queens to be followed throughout their tracking. The spectator returns his card to the deck, but this time somewhere near the top. The queens are inserted face-up near the bottom of the pack and are left sticking widely from the front left corner. They are then seen to rise step by step up through the deck until they finally near the top where the chosen card is known to lie. They are gingerly removed from the deck and, sure enough, between them is pinched a single card — the selection. Y METHOD: This enhancement of the sandwich plot, in which the matesare seen to climb visibly through the pack until they trap the selection, was invented by Mr. Latta in the early 1980s, During the ensuing years, he has fooled and delighted many magicians and laymen with it. Since the idea has recently begun traveling through the inner circles of cardopia, this documentation of the original Latta handling is overdue. The tools that make possible this series of visual sandwich effects are the Hofzinser spread pass, the side-slip color change and the two-handed pass in several varieties. It is necessary that these sleights be mastered to create the desired illusion. They are demanding, but the rewards are high. The effect is introduced by a question: “Have you ever heard the old expression: The female of the species is deadlier than the male? I’m going to give you a graphic demonstration of that time-tested adage. For this I will use the two redheads.” Spread through the face-up deck and outjog the two red queens. “Tuse the redheads rather than the brunettes, because I find they have just a bit more of that killer instinct that we need to make this work.” Square the deck against the heel of the left thumb; then, with your palm-up left hand, strip the outjogged queens from the front of the pack. Catch a fourth-finger break between them as. they are withdrawn. Casually flip the deck sidewise and face-down onto the two queens in the left hand. Smoothly and without hesitation, regrip the pack by its ends from above with the palm-down right hand and lift it away from the left hand, taking the uppermost queen with it. Set the deck face-down before you on the table. Bring the right hand back to the left and pretend to square the two red queens; pretend, as only one remains. Then grasp the queen by its ends with the palm- down right hand and place it onto the deck. This is done without paying any great attention to your actions. Rather, you should be looking at and speaking to your audience, setting the stage for what is to follow. There is an undeniable discrepancy created by the steal of the one queen onto the face of the deck: The suit of the visible queen changesas the steal is made. However, because the audience's attention is not yet focused on the Si DEADLIER THAN THE MALE cards, this discrepancy will go unnoticed. Mr. Latta has performed the trick fo some fast crowds, and the steal has never been caught. It is much a matter of attitude. However, if you feel insecure in such boldness, the left hand can tien at the wrist as the pack is removed, obscuring the face of the exposed gucen momentarily from sight and thus introducing an element of time misdirection to cover the discrepancy. Pick up the deck and spread it between the hands for a selection to be mage Keep the top and bottom few cards tightly bunched as the spread is formog, concealing the position of the second queen on the bottom, while preserving the illusion that both rest on top of the pack. Ask that someone remove a card. If Mr. Latta’s presentation is useg itis more amusing if this person is a male. Casually break the spread at the ot where the card is removed and ask that the person lookat his card and shy Pt to those around him. The card may be marked on its face if itis thought thig wit) strengthen the effect; Mr. Latta finds this touch unnecessary. However, he does give the spectator the option of trading the card for another, if he wishes, “ye we get into this, youare going to come to identify with yourcard moreand more, so it’s important that you get one you like. If you don’t like that one, put it hac, and take another.” After the card has been noted, hold outyour left hand with the lower portign of the spread and have the selection placed face-down onto it. Lay the ont hand’s spread onto the left’s and execute the Hofzinser spread pass (ref. °y, Hofzinser’s Card Conjuring, p. 26) to transport the selection to the bottom of thg pack. Briefly, as the two portions of the spread are brought together, the riont second and third fingers stretch out under the spread until their tips can con ect the face of the selection at its right side. At he same time the left thumb cones down on the exposed left edge of the card immediately above the selection (igure 1). The thumb anchors this card as the right fingers draw the selection -17- SPECTACLE straight to the right, until it lies under the spread and completely disengaged fromit (Figure 2, from below). Then the righthand simply closes the spread into the left hand and over the culled card. This action automatically shuttles the selection to the bottom of the pack. The situation is this: The spectator’s card is on the face of the pack — the audience believes it buried in the center. Thereis one red queen on top ofthe pack and another second from the face, both face-up — the audience believes both are on top of the deck. You are now in position to perform the first entrapment. As the right hand comes over the deck to aid in squaring it, the bottom card (the selection) is side-slipped into the right palm. This classic sleight isso much a part of basic card conjuring, it is likely that any reader of this book will be familiar with it, or will have access to a standard text in which a description of it can be found. Mr. Latta uses a refined version of the sleight, based on the Covinous color change from Expert Card Technique (p. 164). An extremely de- tailed description of this sleight is provided by Mr. Latta and Jamy Ian Swiss in the New York Magic Symposium Collection Four (pp. 106-107). “Watch the redheads go hunting for your card under the cover of darkness.” Bring the right hand over the deck and deposit the palmed card in the usual manner ofa color change. However, the moment the palmed card is square on the pack, raise the right hand straight up and hold it cupped, suggesting by its appearance that perhaps you have palmed the queens. Then makea short sharp tossing motion with the hand over the deck and open the fingers wide so that the hand is seen empty. The queens have seemingly vanished from the top of the pack. During the moment of surprise cre- f ated by the disappearance, side slip the aa face-up queen from the face of the pack f [f into the right hand. “Now the queens are ( somewhere in the deck along with your card. I must now bring them back up.” Repeat the color change. However, this time do not make the false palming and tossing motion; instead, bring the hand fully over the deck, and deftly deposit the palmed card. Then hold the fingers rigidly a together but bent somewhat at the proxi- @ mal knuckles and lift the hand straight up with apparent effort (Figure 3). You wish -18- DEADLIER THAN THE MALE. to give the impression that, by some mysterious force, you are pulling the queens from the center of the pack back to the top. And, indeed, the queens are seen to have returned. Casually let the right hand be seen empty and pause a moment for the effect to be appreciated. “There they are, back again —and they now have something trapped between them.” Slowly spread the top two cards to reveal face-down card between the face-up queens. Ask the spectator to name hiscard. (Mr. Latta, in doing so, asks, “What was your name again?” cuing him to name his card instead, and thereby emphasizing the spectator’s identity with his card in a humorous manner.) Withdraw the card from between the queens, turn it face-up and place it in front of him on the table. Lay the queens face-up in front of yourself. “However, that wasn’t fair. Do you know why? Because I cast a shadow over the pack with my hand and gave the queens a cover of darkness. So you didn’t really have a chance. I'll make it a little fairer this time. Here, get a hold onyourself.” Hand thespectator his card face-down. Thisisaline that Mr. Latta uses several times during the trick. The next sequence is both startling and instantaneous. It was Frank Simon, I believe, who first published the idea of using a riffle pass to create a visible sandwich effect (ref. “Passing the Sandwich” in Earl Nelson’s Variations, pp. 43- 47, first edition). It is used here to fine advantage. Spread the deck from the left hand into the right and break the spread near center so that the spectator can place his card on top of the left-hand section. Use the Hofzinser spread pass to bring the card again to the bottom. However, in doing so do not square the deck completely in the left hand. Instead, leave it spread somewhat raggedly to the right, with the selection held rightjogged for roughly half its width beneath the swayed deck. In other words, the selected card rests more beneath the top portion of the pack than it does the bottom, and is supported by the left fingertips (Figure 4, an exposed view). Pick up the face-up queens and set one on top of the deck, outjogged for roughly half its length. Apparently ~~ - 7 place the second queen on the bottom == of the pack, but actually slip it neatly between the sidejogged selection and _ 4 the card above it. This queen is also left outjogged. Cleanly square the deck in the left hand, and finish the squaring by slowly pushing thequeens SELECTION 19" SPECTACLE flush with the pack. At this point it appears that the queens rest on opposite sides of the deck, with the chosen card buried somewhere between. In fact, the selection lies immediately below the bottom queen. “This time I won't cover them with my hand. I will, however, let you hear their hunting call.” As you say this, bring the right hand over the deck, without obscuring it from view, and riffle up the inner end of the pack with the right thumb, starting near center and continuing up tothetop. As you begin the riffle, insert the tip of the left fourth finger into the center of the pack at the inner right corner. It is understood that the sound of riffling is the queens’ “hunting call”. Ifyou like, the thumb riffle can be followed by a second riffle, this performed by the right fingers at the outer end of the pack. Pause for a moment, until all eyes are focused on the deck. Then execute a riffle pass to vanish the queens. The pass is, again, a classic sleight that has been explained in hundreds of texts. The riffle pass is a variant in which the right thumb riffles up the inner end of the pack as the pass is performed. The action of riffling the cards lends cover for the pass action. If this style of pass is unfamiliar to the reader, an excellent description of it can be found in Kaufman's The Complete Works of Derek Dingle (pp. 56-59). The sudden vanish of the face-up queens is startling. With the right hand, lift the deck from the left hand and display its underside to show the queen gone from there as well. Then replace the deck in the left hand and spread through the cards until the face-up queens are exposed in the center of the pack, a face- down card between them. “They’ve trapped something between them again. What was your name?” Outjog the sandwich by first moving all the cards above it, still spread, toward you about an inch and a half (Figure 5); clip the queens and selection to the face of the top spread with the right fingertips; then move the top section even with the bottom section again, simultaneously bringing the sandwich toan outjogged position (Figure 6). -20- DEADLIER THAN THE MALE Cleanly draw the face-down card from between the queens and show it to be the selection. “They got you again.” Place the card face-up before the spectator. Place the face-up queens in front of yourself and square the deck into the left hand. “You know, even though you saw them go that time, it still wasn’t com- pletely fair. Do you know why? Because there was one of them at the top and the other at the bottom. You were surrounded. You didn’t have a chance. Besides that, even though yousaw them go, youdidn’treally see them searching for you in the pack, so they were able to sneak up on you. So this time I’ll give you an edge. Okay, get a hold on yourself.” This is the spectator’s cue to pick up his card. Push about ten cards off the top of the pack into your right hand, spreading them very unevenly. Reach forward with the rest of the deck in the left hand and have the selection placed face-down on top of this portion. Bring the hands together again and lay the right hand’s small spread over the selection. “This time we'll put you way up here near the top.” Use the Hofzinser spread pass to disengage the chosen card under the top spread and smoothly feed all but the bot- tom eight or ten cards above the selection. Support the deck — still somewhat spread — in the righthand, as the left hand drops away, holding thesmall packet of cards that has been held back (Figure 7, view from beneath). -21- SPECTACLE The left hand descends to the table to pick up the two queens. Todo this, the left forefinger pushes the small packet in the hand back intoa “deep” grip. This frees the forefinger so that it can dig under the queens and pinch them near the inner left corners between itself and the thumb. ‘The queens are then sand- wiched between the left-hand packet and the right-hand stock. However,asthis is done, the selection, which still rests rightjogged beneath the right-hand cards, is secretly inserted between the two queens. This is easily accomplished. Theleft thumb must push the upper queena bit to the right of its sister. Therightedge of thiscardcan then glide smoothly along the face of the right-hand stock and above the selection. The lower queen follows behind ands guided below the card. The position is shown from beneath in Figure 8. ‘The queens are retained in a widely outjogged stateas the deck is assembled around them. The pack is squared into the left hand and the queens are then squared with each other and canted to the left so that they project for about half their length from the left outer corner of the pack (Figure 9). (It may occur to the reader, when he practices this routine, that the queens could project even far- ther from the corner of the deck. Mr. Latta originally did so and found that, if the queensare not inserted substantially in the pack, some spectators postulate that, as the queens are seen to rise, they are in some dexterous manner being rapidly pulled from the corner of the deck and reinserted higher up.) “And we'll put the queens way down here near the bottom. This way you can see them when they approach you.” Itis this third and final sequence that leavesa lasting visual impression with the spectators. In it Mr. Latta applies the passin an exceptional fashion to create the illusion of the queens slowly melting up through the deck until they can surround the chosen card. Three passes are responsible for bringing the anglejogged queens visibly up the pack in gradual steps. While three fast passes or riffle passes were originally used, Mr. Latta has evolved a sequence of specialized passes that blend perfectly to provide the desired effect. -22- DEADLIER THAN THE MALE The first is a Stanyon top-card cover pass, which includes a bit of added finesse by Larry Jennings (ref. Maxwell's The Classic Magic of Larry Jennings, pp. 82-83). The deck is held in left-hand mechanic's grip, the forefinger perched at the right front corner of the pack. The palm-down right hand comes over the pack, grasping it by the ends, all four fingersat the front. The fingersshould ride as far over the front edge of the pack as is comfortably possible, to providecover for the pass action. The right thumb lifts approximately one third of the pack at the inner end — allowing the left fourth finger to slip beneath it —and riffles the cards. “Do you remember their hunting call?” As the riffling action is concluded, the right thumb holds back the top card momentarily, and presses it into the middle joint where the left thumb joins the thenar. The left thumb stretches out diagonally over the left front corner of the top card, so that the very edge of the card is nipped in the fleshy crease. At the same time the left third finger curls inunderthetopcard, catching theupper packet between itself and the fourth finger (Figure 10, exposed angle). Tilt the front end of the pack downslightly, giving theaudienceas fulla view as possible of the top of the deck, and elevate the left side of the pack about twenty degrees above the horizontal. The right outer corner of the deck should now point toward the floor. This stance will contribute to the concealment of the front and left edges of the packets when they juxtapose. Also turn your body approximately twenty degrees to the right. The left fingers now pull the upper packet from between the top card and the balance of the deck, carrying it to the rightand slightly back, so that it travels over the inner rightcorner ofthe deck. The packet is pulled down, around the right edge of the deck, the action concealed by the right hand (Figure 11). The left fingers then curl in, folding their packet down onto the left palm and squaring it beneath the pack. SPECTACLE Mr. Latta cautions that the top card should not be allowed to drop onto the cards beneath as the packet is withdrawn. Rather, the right fingers should support it until the packet has been squared beneath the deck. Then the entire pack is slowly raised to meet the top card. This action enhances the illusion of the outjogged queens slowly melting up through the pack. The pass is not executed quickly. It is done slowly and witha gentle touch. The soft slow action aids in eliminating any scraping sound as the packet is shifted. The stationary top card covers the motion of the packet beneath so that no movement is observable. With the right hand lift the pack to the spectator’s eye level, so that he is presented witha direct view of the front end. The queens are seen resting about twenty-five cards from the face of the deck. “See, they are already getting closer.” The second pass is now executed. This pass is of the wrist-turn variety. Lower thedeck back onto the left palm and quickly get left fourth-finger break approximately twelve cards above the queens (Figure 12). Immediately turn the left hand rightward, bringing the left edge of the pack and the projecting queens uppermost. Continue to grasp the deck by its ends with the right hand, following it as it is turned. Press firmly against the top of the pack with the curled right forefinger to prevent the break from gapping at the exposed edge. The right second and third fingers should lie at the lower front corner to cover any irregularity there (Figure 13). “The queens are farther from the bottom...” This can indeed be seen as the edge of the pack is displayed. Turn the left hand palm-up again, bringing the deck back toa horizontal position, as you say, “...and closer to the top.” Itis during this action that the pass is begun: As the left hand turns with the deck, the left fingersstraighten, keeping the top packet upright and hidden beneath the right hand (Figure 14). The upper edge of this -24- DEADLIER THAN THE MALE packet actually contacts the right palm along the latitude marked by thedivision of the third and fourth fingers. The lower portion of the pack is still grasped by the right hand — thumb at the inner end, second and third fingers at the outer right corner — and held firmly against the extended left thumb, which rests across the back of this packet. In this manner the lower packet is held steady as the left fingers arch downward, carrying the upper packet (clipped between the third and fourth fingers) straight down until the upper edge of this packet can clear the bottom of the lower portion. The left fingers then curl inward, moving their packet under that held by the right fingers and flat up against it. This completes the pass. Mr. Latta, however, adds one fur- ther touch to the sleight. The instant the two packets converge, lower the left edge of the deck less than a quarter of an inch below the top card (Figure 15). The right hand holds this card stationary. Then slowly raise the deck until it is again flat beneath the top card. This slow concealed action cre- ates an illusion of the queens visibly melting farther upward through the pack. “If you look closely you can see that they are still moving up, searching for you. In fact, they may have just reached you.” Just as this is said, insert the left fourth finger into the pack, under the top six or seven cards, and execute a fast riffle-pass. This passis done on the offbeat. The queensareseen torise suddenly still farther in the deck. Now lift the pack with the right hand and set it either on the table or on the spectator’s palm. Firmly grasp the outjogged queens by their exposed index- corners and draw them gently from the deck. As you do this, exert enough pressure with the fingers and thumb to bow the queens slightly. This ensures that when they leave the deck, the selection will accompany them. “What was your name again?” Wait for the answer, dramatically withdraw the face-down card from between the queens and turn it up. “And that is why they say the female of the species is deadlier than the male.” This is an extraordinary piece of visual card-magic that appears completely impossible. The application of the pass in the final phase, to cause the queens torise visibly up the pack, isan original idea. In Mr. Latta’s hands the trick elicits gasps of surprise throughout its performance. It will undeniably demand hard 5 SPECTACLE work tomaster. But those who make the effort will possessa piece of magic that can establish them in the top rank. + Before leaving the topic, it should be pointed out that the same pass sequence just taught finds a perfect application in the Ambitious Card plot. Indeed, Mr. Latta has used it in this manner for some years. Michael Weber, in the late 1970s, independently developed a similar idea. However, his tech- niques differ greatly. He outjogs the ambitious selection and, using several spread passes, causes it gradually to rise. Briefly, here is Mr. Latta’s handling: Have the spectator insert his card into the deck near the bottom. Leave the card jogged widely from the left front corner of the pack and perform the above pass sequence to make the selection visibly rise to within eight or ten cards from the top. Then ask the spectator to grasp the exposed end of his card as it rests in the deck. The moment he does so, execute a rapid pass, taking the small packet above the selection to the bottom of the deck. When obtaining the fourth-finger break for this pass, it is not necessary to insert the finger exactly above the protruding card. The finger may be placed several cards below this point and the maneuver will still succeed. This knowledge saves unnecessary fimbling or hesitation as the break is formed. After the pass, the card, still in the spectator’s hand, rests on top of the pack. Freeze the position of both your hands for several moments, so that the situation can be observed; then drop the hands and deck away from the selection. Do not neglect the pause before lowering the deck — doing so will spoil the illusion, making it appear as if you have merely pulled the deck away from the inserted card. This is a startling sequence that carries such tremendous impact, it should be reserved for the final sequence of the routine. Don’t overlook it. -26- BABY FACE DAVID REGAL David Regal is a fresh personality on the scene to most magicians. His first book, Star Quality — the Magic of David Regal, proved him to be both professional and innovative in his thinking. Mr. Regalisa busy man. Heisa member of the long-running New York comedy revue, Chicago City Limits, he writes material for several large corporations, and has recently become involved with the development, production and direction of interactive television programming, a new and exciting area of electronic entertainment. He also finds time occasionally to visit his wife Leslie and their recently arrived son, Jake. If you enjoy novel and entertaining magic, you are going to like the following Regal contribution. A EFFECT: I think it best to explain this trick by describing it exactly as Mr. Regal performed it for me. Ina moment of relative quiet during the 1987 New York Magic Symposium, Adam Fleischer pulled me aside and introduced me to Mr. Regal. He then ran off toward the theater, casting over his shoulder as he went an imperative “David, show him something.” Mr, Regal gave me an uncertain look and I immediately assured him that, if he was in the mood, [had heard and read good reports of his workand would enjoy seeing something of it. “Well, let’s see what I've got withme.” He opened his brief case. Sitting on top of a clutter of stuff was a thick envelope filled with snapshots. “I could show you pictures of my baby — well, I guess not. Okay, I've got an interesting card trick.” Here Mr. Regal had me choosea card and return it to thedeck. Iwas puzzled from the beginning, because I was instructed to replace the card in an uncom- monly fair manner and allowed to mix the cards before he touched them. He gave the deck one straight cut and turned up the card cut to. “Yours?” I was sorry to say it was not. He turned the deck face-up, exposing the bottom card. “Tt must be this one then.” Here were all the signs of a profound failure. “So much for that. I guess I should have shown you my baby.” With a wistful smile Mr. Regal withdrew a stack of photographs from their envelope. “Here, just flip them like this.” I was shown how to flip through the snapshots ~27- SPECTACLE in the manner of a novelty flip-book (Figure 1). As I flipped the photos off my thumb I saw pictures of Mr. Regal holding his baby, bouncing him up and down, then giving the grinning child a strange look. He reached into the baby’s diaper and withdrew a playing card —mine, of course. Both the baby and myself appeared properly amazed. I knew I’d been taken in \ the moment I saw the stack of photos; but the nature of the swindle was so charming and novel, I forgave Mr. Regal — and (O) Jake — immediately. ‘METHOD: The first thing to be understood is the richness of this idea. Infinite variations are possible on the method in which the chosen card is produced in the photo sequence. Also important are the elements of personalization and exclusivity inherent in the concept. Special sequences can be designed and quickly executed for yourself and for special customers and events ‘Mr. Regal in this instance has used himself and his baby as subjects; an excellent choice, because of the emotional appeal of an infant and father. However, the card can just as well be produced from thin air or from any improbable or comical location. The card can be oversized, or it can grow after itappears. What is being offered here is a fast and easy method to create an in- dividualized magic cartoon with photos. ‘The entertainment and commercial potential of the idea is as fertile as your imagination It will be obvious to the reader that the card chosen from the pack must match that produced in the photos, and therefore must be forced. Any convincing method can be used. Here, then, is the manner of constructing the photo flip-book. Needed are acamera (for purposes of efficiency and economy, a Polaroid camera should not be used) and a thirty-six-exposure roll of film. The camera should be set on a stable surface; a tripod is best, but a high piece of furniture will do. You want aminimum amount of motion between shots, although tiny changes in camera position and exposure time can lend a comical silent-movie quality that some may find desirable. Mount or set the camera on its side while shooting, so that the photos are vertically framed. This allows you to compose the shots with some “dead” spaceat the bottom. These unimportant portions of the photos will be where the spectator grips the stack to flip through it. ~28- BABY FACE Your photographer must shoot the entire roll of film in rapid succession while you carry out the desired actions in slow motion, pausing if necessary for the camera, or for the card or object to be handed to you between shots. This latter course creates the effect of something appearing in your hands or some- place else. Have the photographer count off the number of shots as he takes them. This assures that the action is completed within the series of thirty-six photos. Have the card in view by the thirtieth or thirty-first photo. It should be in sight and identifiable in the last five poses. If possible, take the photographs in natural light and use a fast film. This makes depending on a flash unnecessary and avoids the waits between shots that many flash units require. Snapping the entire roll of film shouldn’t take more than two minutes. Your work is now nearly completed. Have the photos developed on a silk- or mat-finish stock. Avoid a glossy Paper — it picks up and shows fingerprints more than the textured finishes. You may wish to consider having multiple copies made of the last photo in theseries. Youcan then present this photo, with your advertising copy stamped on its reverse, to your spectator. Assemble the photos in the proper order and carry them in the special envelope provided by the photo developer. This protects them and gives them a familiar appearance. One presentational touch you may consider is to have the selection vanish from the deck and appear in the photos, giving the impression that the card produced is the very card just taken. Here, the forced card must be stolen from the deck. Itis also wise, in such a case, not to expose the back of the card in the photos; you may find yourself working with a pack that has a contrasting back Pattern to that used during the photo session. Only one more detail of presentation need be discussed. Your possession of the photos should be mentioned just before the trick is begun. This mention should be casual and seemingly without importance. It is important, though, to establish the existence of the photos without making them seem a part of the effect to follow, just as Mr. Regal did with me. It is also important that your failure to find the card in the pack seem convincing. It must not appear contrived or performed to formula. Attention to these points of presentation strengthen the effectiveness and comedy of the whole structure. This is a trick that is entertaining, appealing, unique to each performer, and inexpensive to produce (about $12.00 to $15.00). If you can’t find a good use for it, you must not be performing. -29- THE FACE-UP RUB-A-DUB-DUB VANISH JAY SANKEY Jay Sankey will be known to most readers of these pages. With two substantial volumes of typically Sankeyan content to his credit (Sankey Panky by Richard Kaufman and When Creators Collide with Richard Sanders)and witha video tapeand cther books on the horizon, Mr. Sankey’s innovative work is well in evidence. He is also 4 popular lecturer and performer. He can always be counted on for ideas that are fresh, original and entertaining. Mr. Sankey has generously contributed three fine specimens of his inventiveness for this volume. AEFFECT: In 1940 Hugard and Braue published a clever vanish in which a card was seemingly rubbed away under the hand (ref. Expert Card Technique, pp.301- 302). They called it “Rub-a-Dub-Dub” and it has since found a place in the work ofmany magicians. The physical action necessary for this vanish is not difficult to perform; it is the timing of the action that requires study and practice. When done properly, the card under the hand seems to melt into the table top. What Mr. Sankey brings to this well-established sleight is a variant handling whichallows the vanish to be done with both card and deck face-up. As thecard on the face of the deck remains unchanged throughout the vanish, the overall illusion of the sleight is improved. Magicians familiar with the standard rub vanish will be fooled by this new feature; and intelligent laymen who might suspect, after the fact, that the card was drawn back onto the deck will find such a solution far less probable. Y METHOD: The deck is held face-up in left-hand dealing position. The card to. bevanished is on the face of the pack. The knuckles of the left fingers should rest lightly on the table, approximately one foot before you. With the left thumb, push the top card straight to the rightas faras the thumb can naturally extend. This will bring the left edge of the card within three- quarters of an inch of the right side of the deck. The hand should hold the deck tipped slightly downward at the right, so that the right side of the card is brought into contact with the table. oi SPECTACLE The open right hand is 4 broughttorestpalm-up very near, ifnot on, the right edge — of the card. This hand tums Pas smoothly palm-down di- rectly onto the card, rolling on the fourth finger and heel A of the palm. (Figures 1 and 2 Sy give a sense of this action.) When thecard iscovered ® by the right hand, the left hand shifts slightly to the left with the deck — just enough to cause the left edge of the card to drop over the right edge of the pack and onto the tips of the left fingers. These fingers should be ex- tended naturally under the deck when the card is first pushed to theright. Figure 3 showsthenecessary position of the card and deck, with the right hand withdrawn for clarity. The instant the card hits the left fingertips they contract, pulling it from under the right hand and square beneath the pack. Synchro- nized with this action, the left hand carries the deck to the left and away from the right hand. Therighthand now palm-down and flat on the table, begins to move in small circles, as if rubbing the card into the table. Then it slowly and dramatically turns palm-up to reveal the disappearance. Done smoothly, with attention given to timing and natural action, this card vanish is highly visualand effective. An obvious application is to the Ambitious Card theme: Apparently place the selection under the right hand. Carry the ~32- THE FACE UP RUB-A-DUB VANISH deck beneath the table, turning it face-down during the journey. Then appar- ently rub thecard through the table, showing it gone from beneath thehand and relocated on top of the pack. This is one of many possible uses to which this effective sleight can be put. gg) COLOR (RE)SET LOUIS FALANGA Louis Falanga will be known to the readers ofthis book as one L of L.& L Publishing Hiis friend and partner, Larry Jennings, is the other. A book of Mr. Falanga's own tricks, Lake Tahoe Card Magic, was the fledgling endeavor of L & L Publishing. Below, Mr. Falanga contributes a recent creation of his, a striking packet trick that combines the plot of Paul Harris’ “Re-set” with the surprise ending of Roy Walton's “Oil and Queens”. A EFFECT: Two four-card packets are displayed fronts and backs. Perversely, it is the backs of the cards that are different, rather than the faces: One packet consists of four blue-backed cards, the other of four red-backed ditto. The faces of both packets are identical — for example, jokers. The packet of red-backed cardsis tabled. The blue-backed cards are shown once more; then, with a snap of the fingers, one blue back changes to red, apparently having transposed magically with one of the tabled cards. Another snap and another blue back is magically replaced witha red. A third snap, and the consequent third red back appears in the packet. With a fourth snap the packet in the hands is shown to contain four red-backed cards. To return things to normal takes only a wave of the hand over the trans- formed packet: All red-backed cards instantly vanish from it and the blue- backed cards are reinstated; which means that the red-backed cards must have returned to the table — if logic were at home. But itisn’tand the red backs have vanished completely, leaving four green-backed cards in their place. Y METHOD: To do this surprising little effect you will need eight cards and some facility with both the Elmsley and two-as-four counts. The eight cards required are two red-backed jokers, two blue-backed jokers and four green-backed jokers. Actually, the faces may be of any value, as long as all eight are identical. From these eight cards form two packets: the first consists of two green backs sandwiched by the two reds, the second of two greens sandwiched by the two blues. Mr. Falanga carries these packets one on a SPECTACLE each side of a vinyl card-wallet; the sort that magicians expect to contain packet tricks. When ready to perform, both packets are removed from the wallet. The blue-green packet is tabled while the red-green packet is represented as four red-backed cards via a Hamman two-as-four count (also known as the D. M. count, after Daryl Martinez, who independently invented this false display Holding the packet face-down at the tips of the right fingers, in the accus- tomed “Elmsley-count grip”, do a three-card block push-off with the right thumb. Take this triple as one card onto the left palm, clip- ping it in the fork of the left thumb. However, do not take the cards completely into the thumbcrotch; rather, they should rest about a quarter to half an inch short of the fleshy web of the thumb. See Figure 1. This is done on the count of one. On the count of two theleft hand returns apparently to take the second card. Actually the contents of the hands are exchanged, the right hand reclaiming the triplecard while the lefthand takes theright hand’ssingle. This isaccomplished by sliding the left hand's triple card under the right-hand single until the left edge of this card passes over that of the three-card block and can be clipped in the deeper part of the thumberotch (Figure 2). Simultaneously the right fingers and thumb pinch the right edge of the triple and hold it as the left hand travels to the left with its new card. On the count of three the hands again exchange contents, in the following manner: The left hand returns to claim the “third” card. In doing so its single card is slid onto the bottom of the right-hand packet, where it is pinched be- tween the right thumb and fingers, and the right thumb immediately performs another three-card block push-off. The left hand takes the three as it moves back to the left. And the card remaining in the right hand is taken legitimately onto those in the left hand for the count of four. -36- COLOR (RE)SET As with all counts and displays of this sort, rhythm is critical. The display must be done to a regular one-two-three-four rhythm — no hesitations or fumbling. Done in this manner the audience will seem to see four red-backed cards counted one after the other from right hand to left. (For further details on the two-as-four count, see page 539 of Pallbearers Review Folio? and pages 109- 111 of Secrets of a “Puerto Rican Gambler”.) Table the just counted packet face-down and pick up the “blue-backed” packet. Perform the two-as-four count withit to display four blue-backed cards ‘Then lay the blue-packet onto the red and pick all eight cards up together. As a point of reference, the packet should read from top down, blue-blue-green- green-red-red-green-green. Flip the packet face-up in the left hand and count the cards singly into the right hand to reveal their identical faces. However, as. this is done three of the cards are displaced as follows: Turn toa spectator on your leftas you ask him to remember the faces of the cards. Deal the top card over with the left thumb and take it by its right edge between the right thumb, above, and right fingers, below. Deal over the second card and take it below the first in the righthand, As the third card is pushed over and taken beneath the first two, the tip of the right fourth finger is introduced between the second and third P cards, creating a break. Figure 3 exposes the break from the rear. This “wedge” break (an idea of Charles Jordan's) can beseen from the extreme left angle. Favoring a person on your left, while award- ing him the task of noting the faces WL of the cards, covers this weakness. Aes ® SS Without breaking rhythm, thumb over the fourth card and take it legitimately below the three in the righthand. However, as the fifth, sixth and seventh cards are dealt into the right hand, they are fed into the break and above the right fourth fingertip, instead of beneath the packet. The eighth and final card is placed honestly beneath the other seven. This procedure has secretly brought all four green backs to the face of the packet, apparently without changing the position of a single card. This displacement technique is extremely natural in appearance. Reclaim the packet in your left hand, releasing the break as the cards are transferred. Neatly deal the top four cards face-up onto the table. These are the green-backed cards, but if the audience has followed your actions they will be taken for the red backs. To clarify matters for the less attentive you immediately confirm the identity of the tabled cards by showing those cards in your hand as -37-