GOON 1 Tim Harkelroad What follows is one of the funniest routines you will ever see with the spring raccoon. This is the raccoon which has had his innards removed and replaced by a large spring. Make no mistake. It is (or was) a real animal. And, for those of you who wish, this spring allows the dead animal to appear to come to life. I won't bother with the details on the standard handling of the corpse since they come with the animal. 1 will concentrate mainly on the patter and the moves which are peculiar to, this routine. As I mentioned last issue, Tim is the Cruise Director for one of the Carnival Cruise Lines ships. You will have to tailor some of the patter to you since you obviously aren't the cruise director anday not have a live band to accompany you.’ (This may be a plus since a Liveu band would only provide contrast and highlight the fact that you are using a cadaver in your performance.) would normally bring out my dog at this time. But, I've been working for the past three years for Carnival Cruise Lines. They flew me to Mexico on one of those airlines where the passengers get together and elect the pilot —-- and they wouldn't let me bring my dog. By the way, my dog is named Spot. I call him Spot because of a bizarre electrolysis accident which left him totally bald except for a single tuft of hair on the top of his head. 1 rented him out to Hari Krishnas for a while to take along on family picnics. But, since they wouldn't let me bring Spot, I came up with an acceptable substitute to take Spot's place and I hope you enjoy him. "Rascal is a northern raccoon, and for those of you who have never seen a raccoon before, let me warn you to keep your hands and feet away from his mouth." Toss the raccoon at a nervous audience menber. This is always good for response. When they toss him back, hold him by the tip of the tail. "what did you do? Drop kick him up here? He's jarder than a carp." This is said as you tap him on the microphone. wyiait, he’s okay. Now Rascal isn't your garden variety ordinary raccoon, He @oes “raccoon impersonations. Would you like to do some raccoon impersonations, Rascal? Here's John Travolta." As this is said, grab Rascal by the neck from the back between your right: thumb and first finger. With him standing upright, your second, third, and fourth fingers can provide the necessary hip movements to imitate a raccoon. (It doesn't have to look that realistic. Few people have ever seen a dead raccoon disco dance.) This is done as the band plays disco music in the’ background. "Now, I know that you are saying to yourself that he is just a raccoon just a lower form of life than--- well, Some of you at least. However, I didn't bring him out here to fling him disdainfully into the arms of some unsuspecting passenger." Cover _-Rascal's _ears__ before continuing, "I hate to bring this up at a time when everybody is buying drinks and enjoying thenselves. But, Rascal has been to the doctor.and only has three weeks to live. So, when be does his raccoon impersonations, if you would clap, yell, cheer, throw money, and sell Amway -— let him know that you" love him I would appreciate it. The reason I've covered the beast's ears is because T haven't told him yet. He doesn't know that .in three weeks he's a ghost, he's out of here. Rascal will now do some more impressions for you. We hope you enjoy the impressions that he has worked on so hardly --- I mean that he has worked so hard on --- whoops! I can't say that, can I? Rascal is happy because I told him backstage that in three weeks he is going to --- to --- to-— camp! Yes, he's going to Camp Wannagohoma in ——— three weeks. At this point you can do some other impressions which Will be outlined in John's routine next, or you can improvise some of your own. After doing one or two of then, if your audience is less than 266violently responsive, mouth the words, “Three weeks" and’ swipe your finger across your throat. Then finish off by holding up three fingers. ‘Tim concludes the routine by holding Rascal in front of his shirt like a tie with, “And here's the tie-coon, That's all; say goodbye Rascal. Tim has a follow up routine which is @ hoot. He puts the coon in the same trunk as Sparky, his vent figure. The following dialogue takes place. Sparky: “what's this smelly thing?" Tim: "That's the Raccoon, Don't bother him. Sparky: "Well, make him stay on his side of the trunk." ‘Tim: "the raccoon can go anywhere in the trunk that he wants to." Sparky: @ oor John Riggs "He already did.’ John was responsible for getting ‘Tim to contribute his raccoon routine to ‘The Trapdoor. Both routines share Tim's Impending raccoon death. Otber than that and some of the impressions, they are different. They are both hilarious. Here, in John's own words from his letter, is his raccoon treatise. September 28,1986 Dear steve: As promised, here is the raccoon routine. I have given credit for gags that are not my own where they are due. I use Tim's camp patter, only I altered it slightly. 1 prepare your raccoon, get him a cat collar and put it on his neck. This makes him more realistic and allows you to do a couple of neat gags which I will explain shortly. Get a big, realistic rubber fish. This should be as big and as realistic as possible. (Editor's note: Isn't that what he just said? You see the kind of stuff I have to wade through to get great routines for this pub?) 1t should also. compress fairly effortlessly. ‘This is curled around the interior of a top hat which is on your table. Prepare a small loop of Scotch tape and stick this in the hat near the brim. You also need a styrofoam cup. I also recommend using a Swiss Bird Warbler for sound effects. Introduction. (Tim _Harkelroad) “Ladies and Gentlemen. Before 1 bring my assistant out, I need to tell you something. He's been sick lately, and the doctor says he only has one week left to live. He doesn't know this, so when I bring him out, and he does ‘his little trick, I would really appreciate it if you would clap and cheer him a lot. Sort of make his last few days happy ones." ‘The attack: Reach into the hat and hook your second finger under his collar and ‘stick your forefinger in where his mouth would be and pull him out of the hat. It looks like he is gnawing on your finger. "OW! OW!" Disentangle your finger and have the coon scamper about in a nervous manner as you attempt to soothe him. The use of the warbler her is mst effective. "Settle dom. Ladies and gentlemen. ‘This is Randi, the world's smartest raccoon." Randi nods. "Randi is going to do some things for you and I hope you enjoy them. Remember, in one week he is going to ---(Randi looks up at you expectantly) --- to camp! Yes, that's right. In a week, he's going to camp. He's so happy. But first, Randi imitations. ‘As you continue to talk, Randi bits sone fleas in his tail. Flip him on the head and tell him to cut it out. He nods agreement, and as soon as you look away, starts again. As you are talking about the imitations, look down at him. He stops biting the flea and looks up at you with wide-eyed innocence. Keep talking and trying to catch him with is going to do some 267increasing frequency. Eventually, you interrupt yourself after every word to look at the coon. You catch him and exclaim, “Ah Hah!" as he looks about in confusion and scampers around. Now, on to the impressions. Dolly Parton (John Helms): Hold the coon as shown in the illustration. Apply pressure with the last three fingers to give him a "busty" look. Mr. T (Tim Harkelroad): Put the raccoon tail over your head as shown. This inspired, Mr. T (John Riggs): Still holding the coon in the Dolly position, pull his tail over his head and behind his ears. This position is shown in the illustration. Whoever’ Famous Died This Week (Tim Harkelroad): Lay the coon rigid on a table. “Wasn't that great? Let's hear it for Randi." Gesture for the audience to clap louder and point to the coon as you grimace. Randi nods his head. “And now Randi wants to show you a card trick." Randi shakes his head emphatically NO. “What's that? Ob, he's hungry." Go through all the nonsense of feeding him. Pick up the cup and give him a drink as you continue to talk about the trick. ‘Randi will have a card selected from the deck and signed. This card will be shuffled back into the deck and the deck thrown into the hat. Using his incredible sense of smell, he will actually find the cards!"all of this is just talk while Randi does the following gag suggested in the Magic Master's manual on the Raccoon which comes with the beast. His head gets stuck in the cup and he tries every way imaginable to shake it off. I found that you can milk this for over a minute while you ramble on about the trick. Eventually, he shakes the cup off and looks around in confusion. Time this so that you address the following remarks to Randi just as he gets free from the cup. "Aare you ready, Randi?" Randi says "No" and runs up your arm to whisper in your ear. "You should have thought, about that before we started." Get a Piece of newspaper (from the paper tear?) and put it and Randi out of sight. ‘This is just an excuse to get ‘the raccoon out of play while you have the card selected. Have a card selected, returned to the deck. top. Pick up the hat, look into it disgustedly, and pretend to shake ‘something’ out onto the floor. Squirt the deck into the hat. Due to the size of the hat, the cards will land in the hat in the same order. Pretend to mix ‘them some more and transfer the tape to the top chosen cards. ‘The Signed Cod: Dip Randi into the hat as you pretend he is looking for the card. Randi roots around awhile and then comes out with the rubber fish. “that's a cod, not a card, Randi." Turn it around and show that it has a large signature on one side. “Oh, it's a signed cod, get it?" As the audience moans, "Give hima break. He's going to camp in a week, remember? The Finale:Randi goes back in the hat to find the card. This time you stick the card to his mouth with the tape. He comes out with the card held low so the audience can't see its face. Ask for the name of the selected card. Have Randi dramatically hold it up to thunderous applause which you encourage with hand gestures out of Randi's sight. signed, and Control it to the Miscellaneous The Screaming Assault: Randi scampers about with loud shrills (thanks to the bird warbler) and runs up and down your arms. With the loudest scream you can manage with the warbler, he jumps into the arms of the most nervous audience member you can find. When they eventually toss him back up to you, hold him by his tail and remark, “Perhaps it was somewhat less than a wee, huh?" Depending on your audience, you can revive him and go into: The Follow Up: On the table you have a Miracle Glass full of milk with a straw in it. As you talk, Randi slurps it down. It is an easy matter to dislodge the tape over the hole that keeps the milk in. Put Randi up and Pick up the newspaper so that it foms a cone and say, "Now I'd like to show you a trick with a newspaper and a glass of milk." Notice that the milk is gone. "I guess I'l] have to show you a trick with just the newspaper." AS this is said, Shoot deadly looks at wherever you 7268Dolly Mr. T (Tim Harkelroad) Mr. T (John Riggs) 7269stashed the raccoon. newspaper tear. The Wiggler: You can make him wiggle his ears by pushing at the back of the collar. It's completely invisible from the front. Leftover Line: Did you know that Randi can read? He saw a sign that said “Wet Paint", and he did. Yesterday T saw him pouring’ over the morning paper. Go into the Well, that's it for the Raccoon routine. | I hope you and your readers like it. Regards, John. COON 3 Wayne Kyzer This treatise on the dead raccoon is by Wayne Kyzer. Suffice it to say that Wayne knows more about dead routines than just about any other magician I know. ‘The magician is standing behind his table. On the table is a box marked, "Danger! Bad Coon!" "I would now like to show you my Grocean Will-P Coon. This coon was found on the Island of Manitoba. These coons sleep most of the time unless some type of noise awakes them. My coon is asleep, but I'll wake him for you. Once they are | awakened, they Will express their anger." At this, the magician taps on the box. This tapping obviously awakes the coon because all sorts of resounding noises emanate from the box. "You should never pick up a Grocean’ Will-P coon while he is expressing his anger. Once the anger is vented, you can pick BROTU? HRLETALE SETS” Oe watermelon seeds. This type of coon roamed the earth duting the prehistoric era with the dinosaurs. Once, this coon had legs. But, through the evolutionary Process, he has now lost them." "You ask if they can travel? Yes, for these coons have been clocked at 35 miles per hour. They squirm their way around. The Grocean Will-P type coon loves to be petted if the person shows him love. Would someone in the audience like to pet the coon?" (The magician pauses while a lady comes up.) "Do you have any watermelon seeds? No?" (Magician hands her a few which the coon starts eating.) "Would you like to bold the coon? There aren't many people who can say they have held a live Grocean Will-P Coon because they are tapidly becoming extinct." After she accepts, she is handed the coon and immediately gets @ hand full of water. "Oh. I forgot to tell you. That's where they get their name. Grocean Will-P Coons.... will pee. The Work. Start by recording some violent animal sounds. These are played on a cassette tape recorder which is located in the box. This accounts for the noise generated by the box. The water at the end is the product of an ear syringe which is squeezed at just the right time. itations. You have to play this Tnene of the right. crow, He's similar to the Pea Can. You don't want. anyone to go away off. 278COON 4 Steve Beam Ten or so years ago, I also worked up a routine using tho raccoon. It is packed away now in readiness for the move and I haven't been able to locate it. However, I will pass along a few pieces which I remenber. They might be helpful to you when compiling your own routine. Like the earlier routines presented here, it requires choosing your audience carefully. I limited the routine to performances for friends. That's why I haven't performed it in so long. I don't have any more friends. First, the name of my coon was "Daniel". | There seemed to be some justice in that Daniel Boone (as opposed to Daniel Coon) used to wear a coon skin cap. This lead me to my first line. "As you know, Daniel Boone used to wear a coonskin ‘cap. Daniel Coon has his own version. He wears a people skin cap.” At this, would remove a Barbie doll with her hands bound to her feet with a rubber band. This formed her body into a circle which made a nice little hat. 1 would place this on Daniel's head and it would remain there during the next few lines. ‘Most raccoon routines have the raccoon eating invisible snacks. Mine ate animal crackers. "Do you know why?" (Pause now for silence or stupid guess from the spectators.) "Because he's an animal." After several impressions, I told the audience that the reason I brought Daniel along was because he was going to help me ina trick. “After all, the impressions are nice, but this is a magic show. I brought Daniel along to show you the world fanous, Sawing a Raccoon in Half." When I would say this line, Daniel would look up from the imaginary animal crackers with a look of horror. 1 would continue without noticing his response. “The reason I use a raccoon is because raccoon insurance is much cheaper than people insurance. Daniel is very excited about the opportunity to be in on this, my first try at this illusion." As I am saying this, he his shaking his head no. This comes to a sudden stop when I follow with, "Well, it's not exactly my first try. But it will be my first successful try... Is everybody ready?" Daniel again shakes his head no. "Quit kidding got a brand new Where's your sense last few lines are all around me and catch him. "ALL right! Forget it! You care if these people are disappointed, do you?" He shakes his head no again. “Well, if Daniel won't let me use all of him, I guess you will have to settle for another famous trick using just part of him." At this, 1 would reach into the hole in the back of the raccoon (apparent ly the one they used to put the spring through) and remove a six foot Piece of rope. "You are about to see, the famous Cut & Restored Raccoon Intestine Trick." After squizming ‘through the removal, I would place Daniel away and go. into the Cut & Restored Intestine Trick. Display the long piece of referring around, Daniel! I've saw and everything. of adventure?" ‘These spoken as Daniel runs T apparently try to rope, it as a Large Raccoon Intestine. "However, if I cut it in the middle, I have two small intestines. Now, I will tie them together with a knot. Those of you with knots in your intestines can appreciate just | how difficult this trick really is. Now, I say the magic words, Pepto Bismol, and the knots disappear. That leaves us once again with one large intestine which I will return to Daniel after the show." Regurgitations. The above is the backbone of the routine. There were many other lines which I will print when I locate them, ‘The best thing about using the raccoon for the sawing trick, is that be gives you all of the reactions that you wish your volunteer from the audience would provide in mutilation type tricks. Everybody laughs at the coon because they sympathize with him and are glad they are not up there in his place. 2After I would show it to friends, some times they would see it laying around later and pick it up. "He's not real", they would say with surprise. I would explain that he was real, he just wasn't alive any more. 1 would further explain that be was my pet for ten years until he died a very unfortunate death. I would leave them with this until they asked how he died. "He swallowed a large springl" By now they would realize they had been taken when they felt inside of him and realized that the spring was as big as he was. FORCED ADD-ON Steve Beam This is a simple add-on at the beginning of A Fechter Force which was described in Card Cavalcade by Jerry Mentzer. This Add-On allows you to maintain the integrity of the bottom stack as well as the top during the force. It also allows you to repeat the force immediately if it fails while still maintaining the original top and bottoa stocks. This was the weakness of the original. To appreciate the value of this Add-on, refer to The King Thing in this issue. In effect, the magician cuts small Packets of cards off the top of the pack onto the table requesting the spectator to stop him when he wishes. The card at which the magician is requested to stop is the force card, If the spectator doesn't call "stop" before the magician | reaches the end of the deck, the {magician starts over again. The Work. Basically, the original consisted of a break above the force card. If the spectator didn't stop the magician by the third cut, the magician was forced to slip cut’ for all the remaining cuts. A slip cut with the top card at a crucial time during the force seemed to weaken the out. (At least that's what some of my spectators told me.) To illustrate the Add On, start ‘with the black aces on top and bottom of the deck. On top of the top black ace, place a red ace, the force card. Hold the deck face down in the right hand from above, with the fingers on the far short end and the thumb at the neat short end. Use your right forefinger to kick or swivel the top fourth of the pack into the palm up left hand. Swivel cut the next 26 or so cards fram the top of the deck onto the cards in the left hand, holding a little finger break between the two. Finally, place the cards remaining in the right hand on top of the left hand cards, holding a third finger break between the pack. Status Report. The deck is now arranged in the left hand fran the top as follows: Approximately 13 cards with a black ace on the bottom (the former bottom stock); left third finger break; approximately 26 cards; fourth finger break; approximately 13 cards with a red ace on top-and a black ace second from the top (the former top stock) . You are now ready for the cutting Procedure. Regardless of when or where the spectators call stop, you are only going to cut four packets to the table. If they don't call stop by the time you are finished, you will start all over again. Timing is everything. Use your right hand to cut off all the cards above the break and place them on the table with, "Please call stop Whenever you are ready". Now your right hand takes half of the 26 or so cards remaining above the little finger break and drops them to the table. The spectator will never call "stop" at this point unless you are moving too slow. His brain is just now interpreting the instructions you gave him. (Remember , these are spectators you are dealing with. They think the evolutionary scale is something you use to weigh things. If their SAT scores were higher, they would be performers.) ‘As you take the third packet of 272cards, all those remaining above the little finger break, the spectator will probably start to call stop. The odis are 9 in 18 if you have your timing down that he will call stop here. If he does, simply hand him the top card of the cards remaining in the left hand (the red ace / force card) and drop the rest of the packet onto the tabled cards. He now has the force card and you have retained the top and bottom fourths of the pack. If be fails to call stop here, simply use your right hand to drop all of the catds remaining in your left hand onto the tabled cards. Many times the spectator will call stop at this point and will realize himself how idiotic he looks. Either way, pick up the tabled cards with your right hand from above and repéat the swivel cuts and the tabled cuts. You can be sure they will call "stop" at the right time this time. An added bonus is that you have taught the spectator discipline. When you say, "Jump", he is supposed to jump. Training such as this will prove invaluable in the future. tation This is a very versatile “fares As you will see, “it was necessary for the smooth performance of The King Thing. I have also used it in numerous other places -— more than enough to justify its inclusion here. THE KING THING ‘Steve Beam This is one of the main reasons 1 originated the Forced Add-On. I wanted to use the cut force but it wouldn't work since it didn't retain either the top or bottom stocks. The classic force would have worked but I didn't want to repeat the same force twice ina row. Also, it didn't flow as smoothly with the handling. ‘Therefore, I was "forced" to add this on. Effect. A card is selected, noted, and returned to the deck. The magician asks for the value of the selection. He is told it king. At this, he immediately starts cutting cards to’ the table. “Tellme when to stop." When stopped, he leaves the card he was stopped on outjogged for about three fourths of its length. The cards remaining in his hand are dropped squarely on the deck. ‘The whole deck is squared except for the out jogged card. "You originally chose a king. If you had stopped me on the top card, I Would have gotten the value right." ‘The magician turns the top card face up on the deck revealing a king. "If you had stopped me on the bottom card, I still would have gotten the value right." At this, the bottom card is turned face up and ‘shown to be a king. It is replaced face up on the bottom, jogged to the right for about three fourths of its width. The deck is tossed into the right hand with the two face up kings remaining in the left. The deck is Placed on the table. "However, you stopped me on this card..." at this, the outjogged card is turned over face up onto the top of the pack. "...S0 this must be your card." As this is said, the magician is pointing to the face up king on top of the pack. It is the mate to the chosen king but not the king itself. ‘The magician is told he has failed. "Nol I didn't mean this card’ —- I meant this card... the one I have been pointing to." All attention shifts with the magician's to the red kings remaining in the magician's left hand. ‘These were the cards he was pointing to all along. (At least they were if we beligve his story.) And, in between the twd -fed kings, is a face down card. ‘This card is turned face up and shown to be the fourth king, the chosen card. The Work. Start with the four kings on top of the deck in order Clubs, Hearts, Spades, Diamond (CiaSeD). Any order will do as long as the colors 1 273alternate but I will use this order for the explanation. Force the king of clubs. Briefly, I cut the top stock to the middle and hold a break. I hold a break above the stock and force the king. I have it replaced and execute a pass or a double cut to get the cards back to the top. To conclude the control, double cut the top two kings to the bottom of the deck. ‘Ask for the value, not the suit of the selected card. They will tell you they chose a king. You are now set for Forced Add On. Execute the two swivel cuts to set up for the force. They will stop you on the king of spades. Diagonally outjog it to the left on top of the tabled cards and drop the cards remaining in the left hand on top of the tabled cards. (See the illustration.) From here on out, attention to the handling. economical and flowing. pay close It is very ‘The handling Pick up the deck with the left and sells the trick. your right forefinger on top, second finger at the far right end, the thumb at the near right end. The fact that the outjogged card is jogged to the left also, provides a place where the right second finger can grasp the deck. The deck is placed in the left hand in dealing position. Turn the top card over and place it face up on top of the deck to the patter above. Pick up the deck with the right hand as you did before. That is, the right second finger at the far right end, the right thumb at the near right end, and the forefinger curled on top. The left hand opens up flat and the deck is brushed across the left fingertips. The bottom card will slide out and lie face down on the left fingers. Use the deck to lever the card over face up, and replace it cn the bottom, jogged to the left. (See the illustration.) Now comes the toss of the deck from the right hand to the left —-a Reinhard Muller effect. _ Only, you are going to delay the sandwich part of the effect. The deck is held in the left hand. The left thunb rests on the top card of the deck, a face up king of diamonds. The bottom card of the deck, the face up king of hearts, rests on the base of the left fingers. The second card from the bottom, the face down king of clubs (the selection) rests on the left fingertips. 274‘The left hand now tosses the deck toward the palm up right band. The traction provided by the left fingertips and thumb holds back the two red kings with the face down selection between them, In Maller's original effect, you would now call attention to the spread of three cards. Instead, you want to keep the face down king hidden beneath the top king. You don't have to keep the cards perfectly squared, only as close to it as you can get. All attention, as well as your own, is directed to the face down deck which has landed in your right hand. This is automatic as the eye follows motion. Place the deck with its outjogged card face down on the table. Remove the jogged card and turn it face up on top of the deck. Use your right hand to point to the left. By having it to the right of the pack, it could be construed as pointing to the pack or the left hand's cards. However, since all attention is on the tabled cards, they will assume you are Pointing to the king of spades. Bring your right fist down to the right of the deck several times as if you were Pounding on the table in pantomime. This up and down motion while pointing to the left further makes it appear as if you are pointing to the top card of the tabled deck. "Then this must be your card." Pause while they tell you that you are wrong, “No. 1 don't mean this card. I mean the card over there where I'm pointing." As this last sentence is uttered, change the motion of your right hand to a left / right motion pointing directly at the left hand. at the same time, your left hand spreads the three cards you are holding so that the audience can appreciate the sandwich, Finish by removing the face down card and dropping it face up on the table, about eight inches from the deck. Drop the red kings on either side of the selection as you take your bows. Knightdale, NC 27545 GAGGED Steve Beam Taking advantage of a trait most magicians have makes this gag a good one to have in your arsenal. The habit which mest of us retain although usually suppress is a tendency to refer to things as "ordinary". It's bad enough that it becomes redundant. It's worse that it's usually a lie. This is only half of a gag. That is, you would not use it by itself. You can attach it toa sucker card routine or use it as a comedy out. Either way, it's funny, Start by opening your card routine with "an ordinary deck of playing cards’ Now assume that you are starting with a sucker card trick. when the trick fails, look at the case in surprise and say, "whoops! This reall} is an ordinary deck." This Should aad at least one more laugh to your already humorous situation. Asan out, if you hhave already told them it is an ordinary deck, you are set for the punch line. “You can then take advantage of the extra few seconds while they are laughing to locate the card you lost for an alternate ending. (I can picture you performing Roll-over Aces and trying to set up again after rolling indifferent cards for the climax.) If you haven't referred to it as an ordinary deck, you can always throw it away with, "I knew I shouldn't have tried this with an ordinary deck. This worked fine with those cards I bought at the magic shop." I realize this is the weakest use of the gag, but it just 275might come in handy some time Like to keep several “genetic” lines available for situations which may occur which doa't lend thenselves easily to an alternate conclusion. (See, __ Inside Outs, Or For My Next Trick I'll Try One That Works by bon Morris & Steve beam == Wow out of print.) Regurgitation: If you are performing for magicians, you can use the gag as an out. Then follow it by stroking the sides of the deck as if it were a stripper deck. Do it as if you are trying to do it secretly. Then watch your "brothers" sit there and snicker at your predicament. BIG DEAL Steve Beam This is a variation of something I used to attach to any card trick which didn't get a good response. It's a strong piece to have in your arsenal for those occasions when you get a tough audience who would rather sit there stoicly than respond to your paperwork. Tt is based on Dai Vernon's Jumbo Surprise from his Inner Secrets of Card Magic. In effect, at the end of a pick— a-card trick, the magician places the revealed card face down on the table. Disappointed at the response the trick has veceived, "I guess you expected a bigger climax?" At this, the magician turns the card face up and it instantly grows to a jumbo cara --~ three to four times larger than the original. ‘The visual effect of the original on the spectators was startling. The only drawback, and it was a large one, was that you were left holding a jumbo card with a regular card underneath’ it. ‘This new handling solves that problem and should provide you with a great any- timer. The Work. As with the original, start with a jumbo card face down underneath your Close-up mat. If you have a tubber bottomed mat, you will want to rubber cement a piece of paper or other smooth surface to the part of the mat directly above the card to keep the card from hanging up. The card rests in the middle of the near side of the mat with one of the short ends flush with the near edge of the mat. Further, the mat should project slightly over the table edge on your side. Force the duplicate of the jumbo card and reveal it in some astounding fashion. At _the conclusion of the trick, place the card face up on top of the pack which is held in the left hand in dealing position. After whatever response the audience offers, state that you have been looking for a bigger Climax for that particular card trick. As this is being said, turn the chosen card face down onto the top of the pack and inmediately thumb the card over to the left with the left thumb. You are now going to perform the Rub-A-Dub Card vanish from Expert Card Technique which is one of the most versatile moves in card magic. To perform, the left hand holds the deck face down with the selection sidejogged Continued on page 278 276Leftovers - Continued from pg. 286 Professional Card _Nagic and in David Roth's coin Tagies other one oF ny Favorites was io Raveell Fox's, ASRAKFOX. Chapter 8 features, "A Blank Look On Their Faces." After describing a trick which uses only a blank faced card and a few simple slights (no deck switch) he then proceeds to switch decks for the photograph. In the instructions, he tells you to make a reverse fan as shown in photo 1. When you consult photo 1, you see a regular fan with a blank faced deck. 1 wonder how many beginning magicians bought the book and are still out there trying to get a fan with an ordinary deck to look like the one in the photograph. I always thought that this sort of thing would make an interesting contest. Simply provide a list of books with flaws and ask the contestants to locate the flaws. ‘The winner would get to flog the author of his choice. Have you bought any good magic books lately? I remember when I was in college. One year, a good friend of mine “was an accountant who made almost, $11,000.00 per year. When I found this out, I told him (I used "Mr." since I now. thought he was the closest thing to a millionaire I would ever meet) that if I could ever make $11,000 a year, I would have it made. After all, that comes to over $209.00 per week! ‘Then he imparted to me one of the profound truths of growing up. He said that he had more free money (disposable income) when he made $3008 per year than he had now. And that he probably had more now then he would when he would eventually make twice that amount. (Steve: "You mean there are people out there making $22,060 a year? C'mon...") I later found out that this was his version of Parkinson's Law. "Your lifestyle expands to fill the money allotted to it." still later, I discovered the magician's version of this same law. Your library, not your lifestyle, expands to fill the money allotted to it and the rent." ‘These are things I just thought you should know. A note from Paul Critelli of Grand Rapids MI: “Enclosed find the $25.00 subscription renewal. It should help to keep Michelle in Pampers. Congratulations and keep up the good work! It's funny how having a baby is a Jot like magic. All that practice and the audience only gets to see the final load (or ‘unload’ as the case may be) .” This made me think of a line I thought I might use if I ever lost all respect for my audiences (now?). "I'd like to find a woman I could love, cherish, and pamper..." At this, pull out a pair of pampers, “Any volunteers? After sending Jack Armstrong of Old Doc Bullywhack's —Conjuring Shoppe (Lawrence, KS) a "friendly" subscription reminder similar to that printed in this issue, he responded with: “I've considered your offer to remain my friend for $25.00 and I have decided to go ahead and renew. ow mind you,I've Checked out the cost of friends in’ the local area and I could get one for $24.50 (and he is a snappy dresser). However, my wife pointed out that with you living in North Carolina, you would be less likely to drop in for meals and so you'd ultimately be a cheaper friend to have. P.S. Stop by anytime we are out of town." (When the local police stop me halfway into Jack's window with him out of town, I'm going to show them the handwritten’ invitation.) I received another letter from Dean Carter, a new subscriber who lives in Knoxville. I got his subscription as we were packing up to move. I lost his address and called John Riggs (also in Knoxville). He called Dean who sent the following: "Dear Steve, if you lost my address, why didn't you just write to me and ask me for it rather than bothering John?’ From Al D'alfonso came, "Dear Steve: My life is not complete. Let me tell you a sad sordid tale. at the beginning of '86 we relocated from New York to Delaware (the Gateway to the South). During that time I fell behind on reading my magazines. All went well for a few months, but I felt that something was missing. I felt incomplete. I couldn't put my finger on it. Then one day, my ever observant wife said, 'I haven't seen that Trap The Door magazine lately. Did it go out of Business?’ That was it. I knew what was missing. No stupid tricks, no witty Leftovers, no pleas for subscriptions. No wonder. I was out of sorts. Well forgive me and I'd like to remedy this right now. Enclosed is a check for 277$75.08 to get my file as complete as humanly possible. I would like to get myself up to date and apply any left over money (Leftovers, get it?) towards my subscription and my apologies for my hunan frailties." i (Editor's ‘Note. Do these letters give you any idea of the quality of People who subscribe to Trap The Door?) Finally, in the last issue 1 started to tell you about a letter from Dexter Cleveland in which he tells about a deck of cards with 52 different designs on it. Unfortunately, there was | a mistake while pasting up the issue and | 1 left out the last part of the || paragraph. I didn't get to finish and | give you the address to order from. It seems there was this Well, that's about all from here and just in the nick of time. Michelle (now “seven months old) just started crying and Dawn is pretending to be asleep. Him. I wonder if Michelle has seen my latest four ace production. better go before she falls back asleep on her own. Steve Beam January 17, 1987 Continued from page 276 to the right for about three fourths 0% its width. The right edge of the card is placed on the mat, directly above the jumbo card which is secretly under the fat. The whole card is now covered with the right hand. As soon as the card is out of view under the right hand, the left thumb pulls the card back ‘flush with the deck. ‘The left hand now does a wrist tur and comes to rest on the table at an inconspicuous place out of the way. The selection is apparently resting under your right hand on the mat. Meanwhile, your right thumb has conveniently engaged the face of the jumbo card underneath the mat. This is the reason you had the mat projecting over the table at the start. When you feel comfortable, you are apparently going to tarn the card over and place it face up on the table. Since there is no card there, what you actually do is pull the jumbo card out with the same actions and “turn it over end for end and place it face up on the table. The card has grown and produced a "big climax". Regurgitations. It is important that “you imitate the actions you would have otherwise used if you really placed the card on the table and then turned it over face up. Work for smoothness and make sure the jumbo card doesn’t hang up in the process. An alternate form of presentation which can be used at the conclusion of a revelation where the card was not forced follows. Place the card face down on the table with your right hand on top. In reality, execute the Rub-a-dub vanish. "Do you know how I found your card among all the rest of these?” As you ask this, point to your right hand with the left hand which holds the deck. As you refer to "the rest of these", shake the left hand in order to call attention to the other fifty one cards. "It was easy. Your card was the biggest!" as this is said, pull the jumbo card straight out from underneath the mat and hold it next to the deck to show the size comparison. Since the face of the jumbo card is never seen, you don't have to use a card which has been forced. 278‘The Trapdoor 497 Carrington Dr. Knightdale, NC 27545 January 26, 1987 Dear Subscriber, As you may have noticed by the expiration number on your mailing label, many of your subscriptions expire with this issue. While I don't hold this against you personally, there are those in the magic fraternity who would leap at the chance to chastise you for this lapse. (I mean, I'm not going to tell anybody, but have you taken a good look at your mailman lately?) Okay. So we both agree that this calls for immediate action. Your first option, is to make out a check or money order for $25.08 and drop it in the mail (to the new address) this evening while you are still kicking yourself for letting things go this far. ‘The second, and more economical approach, would be to call a fellow magician and talk him in to subscribing, taking a whopping big $10.00 off of the combined tab. (Thus, two subscriptions ordered at the same time in the same envelope = $40.05.) Since your friend will know nothing of the added savings offer, those of you with imagination can already see the possibilities which are outlined below. Notice that your cost is directly proportional to the amount scruples you possess. Finally, you could let the subscription expire. Think of expiration as ‘the termination of our friendship. I like you fine now. But I like you more when there is money involved. Think of me as a cheap friend, someone who will be your friend for $25.00. We all need more friends. Are you so ctass that you are going to let money stand in the way of our friendship? We have Something beautiful here. Sign your name on the bottom line and let us renew our vows Sincerely, Sam Bean steve Beam your Other Friend Payment Calculation $50.08 (** Pocket $18.88 yourself) (ote: These prices are good for the U.S. and Canada only.)LEFTOVERS This issue officially starts year number four with a bang. I recently received the 50th anniversary issue of Genii Magazine. It was (mostly) a ‘eprint of Volume 1, Number 1 of Genii. I was thinking about reprinting Volume 1, Number 1 of The Trapdoor and mailing it to you. Twas going to put a "6" right beside the one on the cover so that you would believe it's issue #16. My other thought (I get them in some days) was to celebrate my pairs Seth anniversary early —- 47 years early. What you are now holding was my compronise. It's issue #16, but the material is 50 years old. At one time, I considered producing only one issue per year. Each issue would be "The Annual". This was another idea I got from Genii While we are on the subject of other periodicals, 1 don't’ think magicians should be so quick to write off new periodicals. They should wait until about the 16th issue or so to see what they develop into. All magazines grow (find themselves) and the first issue is rarely a reflection of what is to come. The first Trapdoor doesn't look anything like the current issue. (Then again, I hadn't run out of material when I wrote the first one.) I was up in Baltimore in Novenber. I told Dawn that I would love to go up and visit her sister's family. Imagine my surprise when I later remembered that Yogi's Magic Mart is located in downtown Baltimore. (Imagine further the acting job that accompanied this "surprise". This surprise & che real thing when I showed up at Yogi's only to find that they were in the process of moving one of my favorite magic shops. All of the books had already been moved and were boxed up. (I told them I was willing to wait while they unboxed them.) New omer, Paul Wolman, has moved and renamed the shop. It is now The Main Street Magic Emporium and is located at 8181 Main Street, Ellicott City, MD 21043 (301) 461-5447. According to Paul, the new shop is about fifteen miles from the old one. As I write this, they should be opened for busines: (And, it's about time we went to visit Dawn's sister again.) In September P.M. Magazine ran an item on Danny Koren / James Hydrick. Unfortunately, my cable company picked that exact ‘moment to render their version of White Christmas. There was more snow on my set than I have seen in the last five years. But, I did manage to get it on tape (the snow, that is). Dawn thinks I'ma nut --- but she did offer to stay up late one night and tape the test pattern for me. Wives just don't understand. Last year in these pages, 1. mentioned that my alma mater | had produced a winning football team with a 16-1 record. Because the new coach always wore black, “Black Magic” became the team's theme. I also said that this year they would probably botch it and that you could pick up all the souvenirs at half price. How about 3-5-3? This year they "lack magic". Those of you who bought the souvenirs have only to white out the Last year's award for the most Poorly placed ad goes to Genii Magazine and Bob McAllister. On the back cover of the December issue, Bob advertises a Misers Dream with chocolate chip cookies. On page 370 of the same issue, Tom Ogden teaches his version of a Misers Dream with Oreo Cookies. Great minds think in the same direction toward cookies. (Either that or somebody is a crumb.) Speaking of awards, a few years ago, I was keeping a list of flaws in books. While T refer to them as flaws, many of them were intentional. Aan example would be the illustrations with extra fingers in both Cliff Green's Leftovers Continued on page 277 286TRAPADOOK Written, Edited & pogyrighted even L. Beam. I S Ss U E oy EXPLODING KINGS Steve Beam This is one of the fastest four-of- One of the ways I like to present a-kind revelations around. It takes it is as follows. I have a card (king) less than a second to produce ~the selected (forced). It is returned to display shown above. The deck literally the deck and the deck shuffled. They explodes into position. You can use it tap the top of the deck which, I tell to instantly reveal four chosen cards or them, sends their card to the bottom, I use it as a pretty display of four of a lift’ up the bottom of the deck showing kind. Using face cards produces an their card. “Was that your card?" They especially colorful finale. reply that it is. "Well, I knew it wasa king but I wasn't sure which one. So, just in case, I was prepared with all of these." As the sentence is finished, the cards spring into the "X" shape shown in the opening drawing. The Work. Start with the four kings on top of the deck. Force one of than and have it returned to the deck and control it back to the top of the pack. You now have four kings on top of the pack with the chosen king at the very top. For the sake of explanation, we will assume they are in "CHaSeD" order from the top making the selection the king of clubs. There is a quick overhand shuffle necessary to set the order of the cards. The deck is held in the left hand in overhand shuffle position. Use your left thumb to outjog the top card of the pack, the selection. — Undercut the bottom hal¢ with the right hand and shuffle off this half onto the top of the left hand's half. Undercut beneath the outjog with your right hand. This half has three kings on top of it. Run one card, injogged on top of the left half. Now drop the cards remaining in the right hand on top of the left hand's cards. ‘The deck is now repositioned in the left hand in dealing position, picking up a break below the injogged card. Status The deck is held in the Tett hand in dealing position: the bottom card is the king of clubs, the chosen card. The top card of the deck is, the king of spades and the card beneath it is the king of diamonds. You are holding a break in the middle of the deck beneath the king of hearts. Ask the person who selected the king to tap the topof the deck. You are now going to lift the pack to show the selection on the bottom. Your right hand approaches the deck from the near short end as if you were going to take the deck in Hindu Shuffle position. Your right thumb Tests on the left long edge where it Picks up the break from the left little finger. The right first finger is curled on top while the right second finger rests on the right long edge of the deck. This position is shown in the illustration. As soon as the right hand has Possession of the deck, it turns it counterclockwise one quarter turn while the backs remain up. This allows the left hand to grasp the left side of the deck in the exact same fashion that the right hand is holding it. This position is shown in the illustration. Lift the deck up with both hands so that the bottom card is facing the spectators. Ask if this is his card. It is. Now you are ready for the climax. Unfortunately, this is the most, difficult part of the trick to explain and to perform. You are going to execute a partial slip cut with the deck in that awkward position. Your left hand pulls the cards above the break to the left while your right first finger holds the top card back with the top half. Look in the mirror as soon as the left half has telescoped the half for about half of its length. You have already produced two of the kings. Now comes the fun part. Two moves are made simultaneously. The first move is that your two forefingers push upward on the back of the cards nearest them. Each card is pushed up purpindicular to 282their pivot hand. respective halves. The cards each around the second finger of As the forefingers are doing this, the hands are pivoting the halves themselves as if you were closing a pair of scissors. You are forming the halves into a upside dom "v" shape. This completes the formation of the "X" shape as pictured on the cover and the revelation. tations. This will work using the Five Kings patter explained with the "Five Kings Card Trick" as explained in issue # 2, page 24. You have merely to place your chin in the "vy" formed by the top two kings and you becare the fifth king. also line This is a very _ startling production. Don't overlook it because it seems too difficult. If you grasp the idea behind the handling, you will find it a simple matter to execute it. Tt is not easy but it is certainly not that difficult. STREET MAGIC Steve Beam This is an opener for a stage show. It is brief, funny, and practical. In effect, the magician walks out in front of the (closed) curtain to start his show. "I was almost late tonight. You wouldn't have believed the traffic. It was really terrible. It seems that the Highway Department was trying to fix Malfunction Junction and insisted on merging fifty lanes of traffic into one. There were blockades and barriers all over the road; and I nearly hit several of them, I was tempted to drive off with some of them just to express my anger. Well, I just thought I would explain why I was almost late. It's time to start the show. Curtain, please..." ‘At this, the curtain opens revealing one of those collapsible orange and white highway markers (about the size of a trash can) with a fancy drape over the top of it. It is obvious to the audience that the magician picked one of them up and is trying to disguise it as a magic table. Call your state Highway Department to ask where you ‘can purchase one of their round, “collapsible, _ markers. (If they aren't very helpful, obtain one “by your favorite method".) ‘They really make a great table and they pack into themselves so that they are about the size of a large hat box. In addition, it gives you something which people will continue “snickering about during your show. It is good for at least two more laughs. First, when you ask someone to put a pair of scissors back on your table but to be careful not to scratch the table since "it was very expensive". A second laugh will be forthcoming if you can find a way to work one of those cone shaped barriers into your act as if it were some other prop. You can use it as @ cover, a hat, a megaphone, or a cone. And while we are on the subject, what better way to introduce the highway sign than to have a stage full of highway department (furnished) props? (Does anyone have a use for a four ton pavement scraper? I recently came into one and am looking for a plare in tie act to put it.) 283Okay, I've moved again. Every time the rent comes due, I have to tell the landlords that I don't have the money since I don't have the subscribers. So you think I am joking? Note the following changes of address since 1979. 603 Douglas Hall, USC, Columbia, SC 5908-A Deerwood St. Columbia, SC 116 Park St. Williston, SC * 1058 Marilyn St. Williston, 7375 sandy Creek Dr. Raleigh, 497 Carrington Dr. Knightdale, sc NC Ne * (try hiding from your landlord in a town the size of Williston.) You guys are simply going to have to do better. I didn't want to have to get firm with you but you are trying my patience. You thought I wouldn't notice When you gave Inside Magic to your best friend for Christmas. Uh huh. Well, I did... and it hurt. I£ he wants to know what's on television, let him buy a TV guide like everyone else. ‘And what about that Lines From Lawton you gave for a birthday present Tast year. Don is at the Magic Castle. He doesn't need your subscription. He's surrounded by magic 24 hours a day. Don't be fooled by the name. Knightdale doesn't have a castle. Okay, your friends got married and you gave {nen an Apocalypse, subscription for a wedding gift. Now, they are going to sit around reading Harry and Renee's adventures(?) on the Riviera while they try to cough up the dough to visit the local zoo for a honeymoon, That was really thoughtful. You should have given The Trapdoor, a magazine that's going nowhere. They would have felt lucky to have spent some time in the rain forest. And what's the deal with Magick? ‘The guy doesn't even know how to spell "Magic". Does he deserve your support? Besides, would you want your daughter marrying someone named Bascom? Of course not. Cancel your subscription until the editor changes his name and learns how to spell. And what about Genii? Does anybody really know when their subscription expired? Of course not. When Bill changed the date and sent you a subscription invoice, you were so confused, you just sent in your check and cursed him under your breath. I see by my December issue which I received in February that he's getting ready to do it again, You will eventually stop when you realize that you have renewed six times in one year. Subscribe to The ‘Trapdoor. We are never late. We don't date the magazines so that even if we were late, nobody would know. (And, did Bill and Bascom learn to spell at _ the same school? Whatever happened to "Genie"?) And ‘The _New paying. for other: than the wonderful production job? Ea Marlo's fifteenth version of, something. Who is this guy? If he didn't like the first fourteen versions, why did he publish then? I think he was the guy who asked David Devant how many tricks he knew. Devant replied, "I should say, I only know eight." Ed spit on his shoes. “Bight tricks and you call yourself a magician?" What are you articles and a ‘That's right. The Magic Manuscript? What's the matter? —Haven"t you ever seen full color before? If I wanted living color 1 would subscribe to Life. Magic magazines, just like classic movies, are supposed to be in black and white (or at least, black and buff). I don't want to see full color magic magazines any more than I want to see the newly colorized Casablanca. As a matter of fact, I'm going out right now to buy a black and white television. ay now you get. my : s point. "7 aon'€ have anything against any of the magazines listed above. They all make a great second choice for a monthly or quarterly magic fix. 1 consider many of the publishers to be friends of mine (prior to this issue, anyway). But, how many times has the Magic Castle had to move since 1979? (I didn't ask about Tannen's.) Set things right. Send $25.00 to subscribe to The Trapdoor while the current address is still valid: ‘the Trapdoor 407 Carrington Dr. Knightdale, NC 27545 284OVER LIGHTLY Wayne Kyzer Every once in awhile, it is not enough for a magician to entertain his audience. He mist irritate them. This bit will not only irritate them but might also save their life. Consider this. ‘Someone is about to light up a cigarette. They reach into their pocket or purse and reftove a cigarette from the Pack. When the cigarette reaches their lips and they start to reach for the source of fire to light it, the magician stops them with, “Here, let me." Chivalry is not dead yet. Our gallant hero removes a disposable lighter and strikes it once or twice but to no avail. “Oh well”, the magician sighs as a sign pops up from the lighter which reads, “Thanks for not smoking With anti-smoking a popular debate currently, you can't fail to be topical with this one. It's the lighter to flower gimmick with a sign instead of the flower. While I wouldn't use this for a formal show for fear of offending a Possible clapper (someone who claps at my tricks) I can hardly wait to irritate regular people without fear of retribution. This is one of the reasons X took up magic in the first place. Tf this doesn't make any friends for you, think of the fun you can have by changing the sign for different occasions. Fun, that is, for everyone but your flatulent friends. FLOATING TRASH Steve Beam I recently managed to contact an old magician friend of mine, Melton ("Randy") Francis, This was after he went into the air Force, moved to Alabama, then Japan, then to Florida. He is the author of a book with a very limited distribution called, Magic For The jlete Idiot, a publication destined to rank as one of the classics in future generations. Hidden in that tomb was a trick of mine which would probably have been lost to the current crop of illusionists except for the fact that I have run out of new material here. Yes, this isa reprint, but since the original book had a run of only 58 copies, I thought that the value to Copperfield and Henning alone would be worth the trouble. Below T have reprinted it exactly as it originally appeared in Randy's own words. Levitation of A Trash Can ‘The mind of Steve Beam is a never- ending labyrinth of magical stuff. It was he who originated the following sensational levitation. Steve is a Columbia, SC magician who owns the Columbia’ Magic Shop. He came to us from his parents sometime after the landmark date of 1945 (see dedication) . His mind is like a trap and his hands are faster than a bull elephant during mating season. Before using the effect, T had Steve sign the following release: i give Melton Francis permission to use my “Levitation of A Trash Can" in his great lecture series on magic ar we 1978 (Reproduction of the original) 285Effect. Seated, the magician causes a five gallon plastic trash can to rise up into the air --- breaking all laws of nature, science, and magic. How It's Done. To accomplish this miracle, you need a trash can, plastic, with a lip around the edge. In addition, you need a stable chair to sit in. All you need is to sit in the chair and Stick your leg out. Insert your big toe under “the rim of the trash can and lift up. (See the illustration to help make everything clear.) Keep the audience in front of you as the angles are pretty bad in this effect. Big Toe Below you will find some finer points dealing with the presentation of this baffler: (a) Try gripping the hand so you can wave your and behind the trash can. air of mystery. (B) Keep your grunts low. Lift the can and grunt too loudly, audience will suspect something. : (C) Leave a shoe on the floor in ‘someone looks underneath the trash Doing this convinces them that you both feet on the ground (if not oars in the water). tant. Be sure to wear matching shoes when doing this effect. This will add an air of professionalism, Caution. Do not attempt this effect until you have done 160 sit-ups a day for 60 days. You may get a hernia. Also, do not attempt after major surgery. chair with one free hand over ‘This gives an When you the case can. have both For the advanced idiot, try passing a Hula Hoop over the trash can. This is good as it gets rid of ideas of wires, hooks, bars, Mack cranes, etc. Regurgitations. I ‘can't for the life “of me remember why I wanted to get back in touch with Randy. CHAMELEON KINGS Steve Beam I have been doing this trick for the last eight years when I went through my impromptu packet trick phase. For other fruits of this phase (fruits from the fruit) refer to Back To Aces in #1, Kings & Aces and Quick Change in Magic ‘The Vanishing Art Or How To Turn A Trick For Fun & Profit, and Maeb-y Aces in Don Morris's excellent Close-up Encounters. The effect, which never fails to reap a strong response, is simple. Four kings (or jokers) change into four aces merely by running them through the hand. The handling might appear to be over- handled at first. That is why I never Published it. However, I have had so many requests for this one, I'm beginning to think it's just me. It is a complicated sequence to remember and involves a count which isn't very well known. ‘The count was originally published in the Vanishing Art Book mentioned above in 1978 as part of another trick. This will take a while to explain. If you decide not to try it, ask for a demonstration of the trick ‘the next time we run into each other at a convention. (I'll be the one in the dark glasses hiding from people who want demonstrations of tricks I said would work.) 286The Count. ‘The count is only used once inthe trick, at the very beginning. It is a hybrid of the OLRAM subtlety of Bd Olram's and the Hindu Shuffle subtlety (as originated by Sam Udnih) in which the bottom card is continuously flashed to show all the cards in the pack are the same one, The difference in this count is that the bottom or face card does change each time the packet is shown. Start with the four aces, the king of clubs, and the king of diamonds in your hands. The deck is on the table face up with one of the short ends toward you. If you are going to use jokers for this instead of kings, the order of the aces doesn't matter. Just start with a joker on top and bottom of the packet. I am explaining it with kings for those of you who want to follow the movement of each card during the routine. If you use kings, the Position of every card is important so that the suits and colors match throughout the routine. The order of the packet from the face ist king of clubs, ace of hearts, ace of spades, ace of clubs, ace of Giamonds, and king of diamonds. Turn the packet face down and hold it from above in the right hand, ready to start the count. Bring your palm up left hand over to meet the right hand. Use your left thumb to drag the top face down card into your left hand. This card is held loosely in dealing position. Position your left forefinger so that it blocks the outside index of the king When you rotate the wrist clockwise, you want it obvious that you are holding a red face cata. The face of the king is flashed to the count of "One". Lo) Sap D> GAR As you rotate your wrist so that the card is once again face down, your right hand rotates its packet face up to display the king of clubs on its. face to the count of "Two". Now rotate the right hand packet back face down directly on top of the left hand card. You are apparently going to thumb the card just shown on top of the first king shown. What actually happens is that the right hand picks up the first king from the left hand and secretly adds it to the face of the packet while the left thumb drags the top card of the right hand packet into the palm up left hand. Status Report. You —_have apparently shown two kings which are now in your left hand. However, you only hold one card in your left’ hand, the face down ace of diamonds. The right 287Thumb the top card over to the left and take it in the palm up left hand in readiness for the Vernon Push Through Flourish. That is, clip the card between the right thumb and base of the forefinger as if you were thumbpalming the card cigarette style. Turn the hand (and therefore the card) over with a large, flowing motion. Then use the right hand to push the face up ace from the heel of the hand. You are using your hand as if it were a tunnel. When the ace of spades emerges face up from the heel of the hand, take it squarely onto the top of the left hand packet. Display it there for a couple of seconds, then deal it face up onto the top of the face up, tabled pack. Do not make any reference to its suit since you don't want any attention drawn to any of the suits yet. ‘The Second Ace. ‘Take the packet in the Tight hand from above. Brush the face of the packet across the left fingers, causing the packet to spread. Let the bottom two cards spread to. the left, then square the packet, retaining a break above the bottom two cards the top three). This is done There are three kings left". Execute another triple lift, again made easy because of the break. Turn the top three cards face down and thumb the top card over to the right again. again, the right hand takes the card and executes the Push Through Flourish. The ace of hearts is taken face up onto the packet as was the first ace, the ace of spades. “Another king (change) and another ace." Deal the ace of hearts onto the face up pack. The Third The following sequence is very effective to sell the fact that you only have two cards remaining when actually you have four. From the top down, they are: The kings of clubs and diamonds, followed by the aces of clubs and diamonds. Hold the packet from above in the right hand. The left thumb pulls the top card onto the left fingers to apparently count or display the cards. This card is then placed on the bottom of the packet. "There are two cards left..." Immediately take the packet into the left hand in dealing position. Deal the top card to the right where it is taken between the right thumb and first two fingers. Simultaneously turn both hands at the wrist to display the two kings. "...The king of clubs and the king of diamonds." Place the right hand 288hand holds from the top: Three face down aces, clubs, spades, and hearts followed by the king of clubs and the king of diamonds. Your right hand can now rotate clockwise again exposing another king on the face of the packet, the king of diamonds. This is done to the count of, "Three". Note that this is the second showing of the king of diamonds. However, the first showing as the first king was done briefly and with your fingers covering part of the face. Also, this card is supposed to already be in the left hand since that was where it was first shown. Rotate the right hand cards face down again and approach the left hand to apparently take the card just shown. Instead, the left hand takes or milks both the top and bottom cards together onto the top of the left hand card(s). Status Report #2. You have apparently counted three kings into the left hand. You are supposed to be holding one in your right hand. You actually have three in both hands. From the top, your left hand holds: the ace of clubs, the king of diamonds, and the ace of diamonds. Also from the top, the right hand holds the ace of spades, the ace of hearts, and the king of clubs. Finish the count by rotating the right hand clockwise and flashing the face of the fourth king. This king is now placed underneath the other cards in the left hand, a left little finger break keeping the two groups separate. You are now set for the trick. Before you start, let me say a fow things about the count. First of all, as with all sleight of hand, smoothness counts. It is the single most important thing about this count. If it is execated smoothly, it will not be questioned. ae Other’ than reading the description of the trick, the count is the most difficult part of learning the routine. It has several subtleties built in. They only see one complete king repeated during the count and it is the last one. This is the most strategic place to locate the repeating king since they have just been shown three more. Tf you execute the count well, you would have shown the other kings quickly but not hurriedly. It takes four seconds to make the complete count. Each count should be one second apart from the others. It is like the Hindu shuffle subtlety except that the bottom card actually does change each time you show it. If they never previously caught you when you did the shuffle and the card didn't change, they won't catch this when the card does change. (If they did catch you previously, maybe you should consider investing in Fulves's Self Working Card Tricks.) The Routine. You are now holding six cards with a break separating the top three from the bottom three. Keeping the bottom three cards together as one, execute an Ascanio Spread with the top three cards. In other words, your left little finger holds the bottom three cards as one. Your right fingers at the front and thumb at the rear, slide the top three cards to the right. As they do, the left fingers pull the bottom card of the three to the left While the left thumb pulls the top card of the three to the left. The card in the middle of the three is pulled out to the right, completely free of the others. In your left hand, you have what appears to be a fan of three cards. Your right hand now turns clockwise to flash the king of diamonds. It then returns the king face down to the top of the fan. Finish this by cutting the bottom card(s) to the top (three as one) and hold a new break between the top three and the bottom three. Including the count, it takes ten seconds to get to this point in the routine. You have shown four kings and their backs. I patter as follows: "I am going to show you something with the four kings. One, two, three, four (the count). The faces are kings (flash the king) and the backs are blue." (Cut the bottom card(s) to the top as one). The set up from the top down is: Aces of spades and hearts, king of clubs, break, king of diamonds, and the aces of clubs and diamonds. The _First_Ace. As the first two kings” change into aces, you are only going to refer to them by color. the final two will be referred to by suit. Triple lift to show the king of clubs ("a black king"). This lift is made easy because of the break you are holding beneath the top three cards. Flip the three cards face down as one onto the top of the packet. Do not hold a break. 289king back on top of the left hand card(s). Immediately, the right hand takes possession of the packet and the left fingers draw the bottom king out and flip it face up over onto the top of the other three cards. ‘The left hand squares the packet and grasps the cards in dealing position again as the right hand rests above, holding the cards at the ends. "Let's do the king of clubs first." This is the first mention of the suits since you started the routine. From here on out, you can refer to then as you would like. In one continuous motion, the right hand retains the top three cards squared as one as the left fingers spread the bottom card out to the left. Make sure you aim the faces of the cards at the faces of the spectators. Otherwise, they will see the fat edges of the three cards where there should only be one. You are now going to grasp the three cards in position for the Push Through flourish again. Only this time, you are going to turn the whole packet over with a flourish. After turning the card(s) over, pause for a second for some time misdirection. Then, use the right thumb to push the card(s) from the heel of the fist. Take these three cards as one onto the single face down card in the left hand. Square them up and then immediately place the three cards as one ace onto the face of the deck. Be careful that the cards don't spread. To keep the heat off the tabled cards, as your right hand places the wad on top of the pack, the left hand calls attention to the last "king", the king of diamonds. "and finally, the king of... (peek at the face miscalling it) the king of diamonds. I will run it through the fist ever-so-slowly... and it changes into the ace of diamonds." As this is said, take the card into the right hand and execute the Push Through Flourish. Pause for several seconds before using the right thumb to push the cards out the heel side of the fist. as this stalling is being done, use your left hand to rub the back of your right hand. Continue for as long as it feels good. When you start to lose interest, slowly push the cord out of the fist. Pop the card a couple of times so that they see that its a single card, then Place it face up on the tabled deck. jurgitations. From start to finish “{iteluding the count) the” whole routine takes from 35 to 45 seconds. You will find it much easier for the two milking sequences (during the count and the Ascanio Spread) if you are using good cards that don't stick together. Obviously, the cards used should have white borders to hide the fact that some are face up at the end. This trick has served me well as an “any-timer" for quite som: time. If you get fraction of the use I have from it, you are over using it. "Gee, It sure is nice of you to guys. help’ me carry my show back out to the car." 296MILKE Tim Harkelroad This is a gag of Tim Harkelroad's which adds new meaning to the phrase, "milking an audience". I've been playing around with ita little and thought you might have some fun with it. Save it for the right occasion. An example of this would be when you are at a vestaurant and the topic turns to magic. Offer to conduct an experiment. Ask for the loan of a thumb from a menber of the opposite sex. Have her give you the "Thumbs Down" signal. (Editor's note: Here you could mention that you normally don't have to ask for that signal when you are performing. Generally the audience volunteers it.) Reach over and start stroking her thumb in a downward direction as if you were milking ber thumb. Do this over your cup of coffee. The onlookers will wonder what you are doing watil milk starts trickling out of the spectator's thumb and into your coffee. All that is necessary is one of those little plastic creaners that almost all restaurants serve to coffee drinkers. Use your knife or fork to punch a small hole in the side opposite the flat side (the bottom?). This will allow the container to rest squarely on the seat between your legs (preferably on the outside of your pants) until required. When you are ready to perform, secretly fingerpalm the container. You have only to squeeze the container at 291 the proper moments to produce the milk. When you are ready to clean up, reach into your lap for your napkin. Leave the container on the seat between your | legs and bring the napkin out. Wipe your hands and start again with his thumb. If there is no table cloth, you can arrange to spill some of the milk on the table. Reach for the napkin to clean it up as you clean up. AS soon as you finish, place the napkin to one side and continue to milk the volunteer's thumb. When no more milk is forthcoming, explain that you have all the cream you wanted anyway. Regurgitations, After toying with this, I wanted a way to get some of the heat off the cleanup. After all, a lot of attention will be focused on your hand when they realize that the spectator's thumb ~— is obviously ungimmicked. (For method using a gimmicked spectator's thumb, refer to 45.) ‘This was my solution. Start with a napkin in with a steel nail testing on top of it. After stroking the thumb and producing the milk, reach for the napkin to clean your hands. Leave the creamer on the Seat as you bring forth the napkin and wipe your hands. Place the napkin on the table as you fingerpalm the nail. Start stroking the spectator's thumb again as if you are trying to get more milk from it. (If she lets out a scream and the milk turns to a blood-like color, try adjusting the position of the nail on your next volunteer.) After sufficient effort, tell her that it looks like she is all dried up. Pull on his thumb (and his leq) a little longer. As you do, move his hand slightly so that it is no longer directly over your cup. When you are ready to finish, drop the nail as if it came from the thumb. Tt will land on the table with a resounding thud. "I'm sorry. 1 pulled so hard that 1 must have pulled your nail out." (Maybe so, pat you'll use it!) You might want to press your luck with, "The last time I did this 1 got creamed. One final thought is that you are | open for all of the gags used in the funnel routine where you milk the spectator's elbow. Ask her to say, "Moo" | and inguire as to whether or not she went to an agricultural college. your lap: No Jacket Required Steve Beam Magicians, like normal people, seem to thrive on controversy. Since there are less than 16,600 magicians in the United States, magic news tends to travel quickly. One has only to review the case of "The Mystery Magician" as outlined in Inside Magic and Genii recently to appreciate just how seriously we take our art. The humorous thing about this whole episode is that, judging by the sales of the tape, magicians were the only ones who bought the tape. Further, the cries regarding ethics about the masked magician giving away tricks like the Zig Zag which paid performers use to earn a living makes one wonder how many have legal (authorized) versions of the Zig Zag in their act. Probably the next controversial topic will be that of the Insider Magic Report. I recently received Voline Te Number 3 (May, 1987) of this "newsletter" in an envelope with the return party listed as "Magicians Intelligence". (At first I wondered if the sender hadn't gotten the sender and the "sendee" confused.) Since these two words are many times mutually exclusive, my curiosity had been aroused. The editor, listed as Mike Gonta, is "gonta" make a lot of dealers angry to say the least. And, “say the least" is exactly what he does. To be more specific, this is a newsletter that takes new tricks on the market and explains the effect, price, and where you can order it. It also mentions where it was advertised along with the cost of the ad and the approximate number of subscribers the magazine that advertised the prop has. It then proceeds to provide a very brief @escription of the method. This is where I think Gonta fell short of becoming front page news. ‘The method is so brief that in many cases it doesn't make any sense. In addition, there is no rating of the effect. I mean, as long as he is sitting there with the trick dissected, he may as well comment on the quality of the merchandise as well as ‘how well it accomplishes the effect. I do not consider the ‘Trapdoor a newsy type of magic magazine. The reasons I avoid the news are because I feel it would age the magazine too quickly and because many of the other periodicals (particularly Inside Magic) do such a good job. So, why are you reading news here? It's because Gonta reviewed a trick of Ben Harris's called Inverted Thought which (from reading Gonta's version of the method) I have improved upon and thought you might be interested. I play’ my version for comedy where Ben apparently plays his straight. Ben's version is basically an extension of the comedy "NO" prediction which has seen the spotlight often for the last few years. All I have done is to change jackets (pun intended) to give you the following which I feel is much cleaner. Also, it can be used in conjunction with the "No" prediction to make it even funnier. Effect. The magician gives a spectator a book and sends him to the other side of the room. He asks the spectator to open the book and think of the first word he sees. The magician immediately reveals the selected word. Method, Take a hard-bound book and turn “TE upside down and replace it inside the book jacket which is right side up. (The other alternative would be to remove the cover from a paperback book and glue or staple it back on upside down.) Send the person to the other side of the room with the book apparently right side up. Ask him to open the book and think of the first word he sees. Give him just enough time to get the book open and then ask, "IS it upside-down?" He will say, "Yes" and you can take your bows. I€ you want to play this seriously, you can consult Ben's publication to see how he brings it to a conclusion. There is a good chance the spectator will catch on and not expose what you have done. However, I think it's funny for him to stand there showing the upside down book as people realize what the magician has attempted to pull over on them. He then proceeds to show then a real miracle (which they probably saw exposed on The Mystery Magician's tape). 292Leftovers (Continued from page 296) Once we lifted off, stewardesses were very reassuring. They offered, "Coke, coffee, or communion" to help everyone feel as comfortable as possible. I felt much better until one let it slip that the mechanic had tightened the nuts and bolts on the aircraft with his fingers. It seems the airlines couldn't afford the proper tools to maintain the planes. All of their money was being used to pay off lawsuits. One’ of the routines I was going to use in my act was, “Reserved Seating" from issue number 13. For those of you who don't care to look it up, it involves a stainless steel bedpan. 1 didn't think much about it and just the Pretended (?) embarassment when the Raleigh-Durham Airport security discovered it. They thought it was legitimate and so were very apologetic. However, by the time I got to Washington, ‘Dc, I had forgotten about it. It triggered the Xray machine. When” I removed it, the airport Dick ‘Tracy opened with, "You know we do have bathrooms on the airplanes." countered in my best Southern dialect, “well, Hayeck! We're from North Caroliner and we don't have them fancy frills dow there. ‘Tell me though. where duz the stuff go?" At that point, he Jet the poor Southern boys pass before he said something he didn't want to say. ‘That is not to say he forgot about it. I still think be is responsible for cancelling the connecting flight from Dayton, OH to Kalamazoo creating a six hour delay for us. What is it about Ohio, anyway? Last’ year it was Mansfield (page 242), this year, Dayton. Because of the inconvenience, the airlines furnished us with a $7.50 meal voucher. We then proceeded to head out for the nearest restaurant whose cheapest meal happened to be $15.00. We finally reached Kalamazoo at 7:08 p.m. Kalamazoo is one hour away from Colon. While this may not seem too serious, keep in mind that the show 1 was in was to start at 7:30. We managed to claim our luggage by showtime, something which made me delirously happy. We met Greg at the airport and got set for the fastest leg of the trip. ‘This was the warp speed we achieved in the trek from Kalamazoo to Colon. We clocked it at 98 mph in a suburb of Colon, Hemorrhoid, Michigan. Greg was attempting to make up the entire six hour layover in one hour on the ground. He didn't quite make it —- he left the ground several times. He dropped us off at Jerry Conklin's house where I was to quickly change clothes before rushing to the show. Those of you who know me know that you don't put me in a room full of old magic books and posters and ask me to do anything quickly. We were lucky we got to Abbott's before 11:60. ‘This was my first trip to Abbott's. It has been added to my list of favorite magic shops which includes, Jim Swoger's House of Enchantment, Paul Wolman's Yogi Magic Mart, and Jay & Frances Marshall's Magic Incorporated. You can't help having a great magic shop with the likes of Gordon Miller, Hank Morehouse, and Greg Bordner on staff. All were very generous with their time and helped to make it a great weekend even though I did get a bad case of Bendix Bombshell. For those of you who have never been to Colon, there is something refreshing about being in a tom which surrounds you with magic. The two main restaurants are The Magic Carpet and The Blackstone Inn. ‘There is Blackstone Island as well as Blackstone Avenue. ‘The sign which greets you upon entering Colon says, "Welcome to Colon - The Magic Capitol of the World". (A title they no doubt felt free to claim after I left Williston, SC.) Even the local cemetary reads like a Who's Who in magic. It is the final resting place for such luminaries as Percy Abbott, Duke Stern, Recil Bordner, Monk Watson, and Inez and Harry Blackstone, Sr. All of this was like heaven to magic junkies like Wayne and me. Greg made the trip fascinating as he gave us ‘the tour of Colon after promising that his car had gears one through three as well as four through ten. His anecdotes would make amusing reading. In addition to the staff at Abbotts, I also got a chance to make several new friends including Johnny Ace Palmer, Dick Jarrow, and Tom Gagnon. Tom will have 293several beauties appearing here very shortly. As our plane was to leave at 7:08 on Sunday morning, Greg picked us up at 5:38. This time was arrived at by taking the time it would take to make the trip to the airport and check the luggage and dividing it by tw. It is amazing the risks grown men will take to savor a few extra minutes of sleep. Greg did see to it that we never exceeded 89 mph. He wade this concession he explained, to avoid hitting the deer which spotted the rural highway all the way to Kalamazoo. 1, for one, felt much safer. I would much rather be doing 80 mph with deer than 99 mph without. I would like to put Wayne in for an official commendation. Although overcome by fear for most of the time we were in the air, I do think he demonstrated marvelous self control and courage. Agreed, 1 do think the teddy bear incident Was a little out of line but the ten-year-old did agree to drop the charges when Wayne finally let go of it. Wayne summed it all up as we were landing. He commented, "When we make these trips, it inspires me to do something to polish up my magic." (Sure enough, as soon as we landed, he bought a bottle of Brasso.) Kaymar The Magician was recently on David Letterman again. He performed the Sword Through Neck on Letterman which Letterman followed with, "It's a measuring tape, Ladies & Gentlemen." ‘That brings up an interesting question. Who is the victim, Letterman, Kaymar, or ‘those of you who use the trick? This was to have been his closer. His opener was The Shrinking Glove. Letterman kept wanting to see the gloves which he referred to as, “one-size-fits- all-gloves". One wonders if this isn't Letterman's way at getting back at the fraternity for the roach-producing Penn and Teller. Speaking of The Shrinking Glove, here's a patter idea you may want to use with yours. Come out wearing the gloves. "Being a sleight of hand artist, you have to keep your hands warm. ’ There's only one problem. Since I am using sleight of hand, the muscles in one hand develop more than the other. Since 1 am right handed, my right hand is actually much larger now than ay left. It's really not obvious hen you look at my hands. But here...take a look at the size of my gloves." Time your patter so that you are holding up the two different size gloves as you finish the patter. have received a lot of comments about "Well Shaken" from issue # 15. T've been getting a lot of use out of it myself as an opener. For those of you who prefer totally self-working magic, try this handling. Start with the set-up in the exact opposite of the original version. That is, have the twenty six cards on the face of the deck in tendom order and the twenty six cards on the back of the deck in sequence. Remove the deck from the case. Hold it face down in preparation for spreading the cards face down. Instead, bring them up to chest level with the faces toward the audience and start spreading the cards from the left hand into the right. Time the spread with the patter so that you have only shown the back twenty-six cards by the time you lower the pack. (Once the faces are out of their line of vision, you can continue spreading as if you had intended for them to see all 52.) Turn the deck face up and start shaking the cards per the patter outlined in the routine. Now spread the cards casually fromthe face to show that they are now all mixed. It seems simple and it is. However, you are Presenting this as a quick opener or a segway between stronger tricks. I think you'll find the method more than adequate and the response worthwhile. John Riggs and I were discussing computer tricks a few months ago. We were toying with ideas to frustrate regular programmers when they are given a minute or so to locate the magic-type Program and run it again. Most of the time, this could destroy the original effect. This may be helpful to those of you who are so inclined and have a hard rive, Change the end of your program so that it chains (not paths) to another subdirectory and leaves you at a C Prompt ("C>"). Here you have several options. You can chain them all the way into another Program where it will look as if the Program they just ran had completed and was just sitting there. Those who know 294something about ptogramming will be tempted to type in the word "RUN" and Will be surprised to see the words, “sorry, I never repeat a trick." This, is done by chaining to a program which says (in BASIC) 16 CLs 20 LOCATE 14,1: 30 PRINT "SORRY, I NEVER REPEAT A TRICK." 40 SYSTEM ‘This program will then throw them back out toa C Prompt. They will now run a directory ("DIR") which will list out what is in the current subdirectory. For that reason, you will have a batch file named "CARD-TRK" ot — something equally obvious waiting for them. When they load the batch, it will say something like, "I thought I told you... only one to a customer." Then it will proceed to park the heads on the hard drive by executing whichever software programs your system uses to park them. This series will keep them busy for a while. For those of you who want to keep them busy even longer, try disguising the name of the computer trick as something like "SPREDSHT or "WRDPRCSR". Finally, if your computer will allow you to do it, you can hide subdirectories and other files by changing one of the attributes of the file. Check your DOS manual to see if yours will enable you do it. Look it up in the index under "Attributes". (The other alternative is to use The Norton Utilities which do the work and hide it for you.) David Michael Evans sent in his renewal after the Subscription plea in issue #16. He entered his renewal with, "I am sorry I couldn't take advantage of your group discount. couldn't find any friends with $100.00. (Yes, I am that greedy.)" In closing, a lot of people ask me how I am able to put such consistently good material in The Tray In addition to excellent contributions, 1 don't normally contribute magic to anywhere except the publications of friends. As a matter of fact, J. G. ‘Thompson wrote to me back in 1945 and asked for a contribution to My Best. I didn't respond because of the reasons 1 just mentioned and because I hadn't been born yet. Steve Beam May 2, 1987 One of the key things overlooked by beginning performers is the way in which they treat their audiences. Even seasoned performers often have abrasive mannerisms, offensive patter, stale lines, and low humor. All of this cen be summed up in one phrase - a lack of respect. Take for example, the Egg pag. Tis is a classic piece of magic which deserves a classy presentation. But, what do most magicians do with it? They shower it with bad puns throughout the routine. Puns such as: "Egg-zactly" "It's a fowl trick but the best 1 could scratch up" (Climax Egg Bag) "Do you think I'm carrying the yolk too far2" “this trick reuinds me of law, the old bag, "This is a wooden egg. It was layed by a decoy." mother-in- This is just a sampling of how this classic is used to assault the audience with a barrage of puns - the lowest form of humor. T personally have taken the time to eliminate all of the overused puns and have replaced them with classy, even elegant patter. ‘The result? The last three times I performed The 89g Bag I was greeted with a standing ovulation. 295I just got back from Colon, Michigan, "The Magic Capitol Of The World". I flew up there to lecture and perform at their annual close-up convention. (I wasn't good enough for ‘the Get- together.) About a hundred close-up enthusiasts gathered for a fun weekend. It all started when Greg Bordner, the owner of Abbott's, wrote and invited me to lecture and perform. I, in turn, called Wayne and asked if he wanted to miss Gatlinburg (The Winter Carnival of Magic) for the second year in a row to go see what Abbotts was doing with all the money I sent them as a youth. I did this, not knowing that Wayne had only been in an airplane once and that was twenty years ago. I have made less enlightened decisions before --- I just don't remenber when. Let me “start by saying that I'm no expert on aviation. But even I know that you shouldn't name the place you are departing to rise up 49,008 feet above the earth's surface, a "terminal". It has such a final sound to it. We got to the airport early. I thought this would give Wayne a chance to relax and get used to the idea of entering the stratosphere (no pun intended) inside a steel tube which was built by the lowest bidder. This clever planning was partially offset by the preflight movie, “Terror At 38,008 Feet". Wayne insisted on meeting the pilot in order to make sure that he had had a good night's sleep the previous night. He insisted on asking what year and model the plane was and whether they used genuine G4 parts for their repairs. Leftovers is continuedTIRAPADOOT Written, Edited & Coy yrighted by Steven L. Beam I S S U E > 18 ( Tie Watch Trick tas always been one of my favorites. Tle fact tht it isa classic is born out by tle simplicity of its nme. It is the trick witha watch You might say, it Tas stood the test of Time Pieces Sfyk seas Probably my favorite presen tation for th trick was provided in Norman Hunter's Successful Magic For Ama teurs. Steve Beam In this presentation, a watch is borrowed from a member of the audience, placed in an envelope, and dropped into a large bag. 1t immediately falls t the floor. The magician turns tle bag around in tprror to stow a large Ile in th bottom, As le turns to apologize, te accidentally (?) steps on the watch He then proceeds to vanish the pieces and reproduce the watch in working order. While I like most versions of destroying the watch, I Inve never cared for where the trick went from tlere. If you vanish the pieces, and later produce th wile watch the effect seems unclear or cluttered. Why is it necessary to vanish tle pieces and then reproduce the watcl? Because you need to execute the second switch thmt's why. The addition of four or five boxes (nest of boxes) fromwhich to produce the watch seemed to further confuse things. My final complaint is tmt I always thought the watch stould be destroyed in plain view. t That is why I developed the @ following routine. It is simple in effect and metind. The = performer borrows a watch It is not covered with a tandkerchief or placed in an envelope.As soon as te tas possession, tle magician starts to auction tle watch As te does, the watch rests openly on a Wien the bidding draws fe closes the auction with, «sold!" As te says "Sold!" te smastes the gavel down onto the watch des troying it. Af ter some himorous by-play, watch is tnded back to the owner, none the worse for wear. He is also provided some spare parts in the form of miniature nuts and bolts, which th magician clains te didn't need when te magically repaired it. Remember, during this entire routine, the watch never leaves the audience's’ sight. Tlose of you wip already Inve a watch routine might want t read the description of the me tld to pick up a few lines which you can adapt to your routine. The Work. gimmick make. metal about small pedes tal. to an end, the Tiere is a simple It is a piece of flat falf an inch in width and wo jincles in length It is waxed to the back of a watchwhich Is Ind its band removed as stown in the illus tation. Place some very tiny nuts, bolts, and wasters in your lef t trouser pocket. Add a pedestal and a gavel (or mallet) and you are ready t start tle routine. Start with the gimmick secretly resting in the curled fingers of the right hand. The watch is on the third and four th fingers while the metal strip rests on the first and second fingers. Borrow a watch from a member of the audience. Get a man's watch, preferably one witha metal band. The performing conditions dictate Ipw close a match your gimmick you require. Take the borrowed watch in tle left hand as stown in the illustration. (##**) Examine the watch with some interest as if determine tint it is suitable for your needs. tiat is his real name, bas kindly agreed to donate his watch toward tle payment of my services tonight. As I "Me. Smith, if already lave several watches, the management las graciously granted me permission to auction off Mr. Smith's wa teh" “As you can see, it's a very expensive watch As a matter of fact, it's a Rolex. R-O-L-E-C-K-S. Boy, this is nice. Iteven as the date.... May 5th mie" (At this, the magician names a date six or so montts away.) "Well, let's see tow it does on tle auction block." As this is said, th right land comes over to telp place th. watch on the pedestal. Several things Imppen as the [ands come togetler. Pirst, the left thmb slides the watch back along its band so tht it rests on the third and four th fingers. This means tht only the band protrudes from the left tand, the watch is covered by tle back of the tand. This band is taken into the right Iand, directly on top of the protruding metal gimmick. The watch on the gimmick is aligned with the end of th protruding watch band. Remenber that 298this switch takes about a second and is comple tely covered by the lands as they come togetter. When tle right tand is removed, it appears that the watch is in view. Tle left fingers are tlding the tip of the gimmick which suppor ts the real watchband. Tle tip of the real watch band stpuld be flush with tre watch gimmick. This is stown in the illustration. (*****) With the watch now resting on the pedestal, pick up the mallet in your right fend and you are now ready to Start the auction. If you can imitate an auctioneer, now is tle time. Lacking ttat (and better thn doing a bad imitation) simply ask for an offer of a dollar. There is usually some fun in this as the bidders (friends of tle victim) jump inwith their two cents worth Don't drag it out. As soon as, the bidding slows down, you are ready to mark the item as sold. We will assume the bidding tas s topped at $12.00. Gesture to the final bidder with the mallet. "Going once... _ going twice... SOLDI" As you announce tint it is sold, slam the mallet down onto the watch gimmick. Pause for the laughter. Make sure that it is obvious wiat you fave done. Tlere sipuld be no doubt that you lave destroyed the gentleman's watch, Don't look at it. Stand there and let the audience appreciate the look on your face as you realize tht you lave destroyed the watch Also, give thm a ctance t check out the victim's reactions before you proceed. When ready to proceed, you are also xeady for the second switch. Your right hand comes oer to take the watch. It grasps the gimmick with the watch side on the little fingers, exactly as it held it at the beginning of the routine. The real watch is taken in tact on top of the gimmick. This position is shown in the illustcation, T£ you don't direct any attention to the watch, neither will the audience. fven if they burn your hands, they won't see anything (other than a few blisters), As soon as you execut? the svitch, bring the watch (in your right hand) up to "your muth where you — blow imaginary dust particles off of it. Stare at the face of the watch which is out of sight of the audience. “well, I can see by Mickey's broken hands... that IC, it's about time for me to go." Pause for a few ments and then look at the victim, "You didn't tell me this was a stopwatch." Follow with, “How long have you had this watch?" No matter what he says, comert it to mméhs in your ind. — For example, if he tells you be has had it two years, that would be twenty-four months. Subtract one. “Boy is that a shane. Tt says here that the watch has a twenty-three month warranty. Isn't that always the way thinys happen. You ow something for two years and the warranty expires. The very next month, the watch just breaks." This is said as if you had absolutely no part in the destruction of the watch. “Well, it's not a complete loss. This guy wer here owes you 12 bucks. Boy, I'm sure glad T didn't bid on this." Now lift your right hand up and Jet the watch dangle from the hand. 299“You can still keep time with this thing. Just go like this." As you say this, start swinging the watch back and forth --- pendulum style. You are doing your imitation of a grandfather clock. "You don't appear to be enjoying this stow as much as you stould. Maybe I stould try to fix your watch I Tave something tere which just might telp. Casually stow your left land emty as you reach into your left pocket. Grab the small nuts & bolts and do your best to fingerpalm thm. Act as if you taven' t found what you are after. Bring your left tand out and it immediately takes the dangling watch into a loosely closed fist. Your right tand now reacles into your right pocket and brings forth some imaginary dust. While there, be sure to leave the ginmick. “this is magic pocket lint. Actually, this is borrowed lint. That's right. ‘A magician friend of mine lent me his lint. I asked himwhy. He said te was giving it up for.... something else. Anyway, if I sprinkle the borrowed lint over the watch, something magical occurs." As you are uttering these lines, your left tnd is apparently massaging the watch Be very careful that the nuts and bolts don't scratch the watch Let the nuts and bolts slowly trickle out of the fist and onto tle floor. "The watch magically repairs itself. As the laughter starts to die down, take the watch in the right tand and fnnd it to the victim. "And, you sir, for being sucha good sport, I would like you to keep this watch as a souvenir of this slow. It will remind you of the really great ‘time’ you fad tere. 1 think you will find it in perfect running order. and, tle applause you lear is designed to keep you from killing any magicians which ‘come to mind." Regurgitations. At the end, some of you may want to go for the real magic finish adda small, strong magnet to the back of tte borrowed watch This will stop the second Iand from moving. Wien you are ready for it to start (while spectators are watching the face of the watch simply remove the watch from the magnetic field. While it will make you a super magician in their minds, I would never do this with a 308 watch I wouldn't want to replace in case it didn't work. A little fear goes a long way. The gimmick is reusable. However, for ttose of you wip perform in relatively close quarters, you may want several different watcles made up in advance to match the one the victim will offer. Timex use to sell the watches that were sent in for warranty work for $1.08 to $3.00 when porclased in lots of a dozen each It seems it was cheaper > replace than it was to repair the watcles. Watch repair sipps can then Purcase thm to practice repairing Watches. Cleck with your local jeweler to see if they still continue this Practice and you can purclase enough gimmicks to last a lifetime for a small amount. Finally, you may want to use the old rattle bar concept to produce a noise as you stake tte watch In this tandling, @ small metal container filled with snall metal objects is strapped to your wrist under your coat. If you Inld the watch in the same tand which tas the noise maker, staking the watch will generate a noise which everyone will assume is coming from the watch. ——_— rere === Paul The Diamond Double This is the esotetic sleight of the month tt is by the Mr. Congeniality of magic dealers, Paul Diamond. It is a difficult and yet handy way of executing a double lift withone fand. It will pass for a flourish and at the same time accomplish the double lift. I will describe it first as Paul does it. Then (Whew!)I will add some tips which might lelp ttose of you with smaller fands. I will warn you, this is one of tse sleight where the size of your tands really does matter. You may want to practice it with either Ialf a deck ora bridge size deck. Also, at first you will find it easier if the long edges of the du bowed upward. Start with the deck teld in left fand in a position. It is teld deep in the fingers allowing your thmb freedom to stretch over and touch your fingertips. Tt is also teld down more toward tte fourth finger thin usual. In other words, the top edge of the deck stould rest squarely on tle left forefinger. (See the illustration to help make. this position clear.) Lower your left second finger along the right edge of the deck to get it out of the way. This makes room for your left thimb which will now reach over and contact tle right edge of the carés wiere tte second finger just vaca ted. Use your thanb to pull up on top two cards of the deck. Your left third and four th fingers assist in this Procedure by squeezing tle edges of tle deck forcing the long edges of the cards ‘to bow upward even more. As soon as you tave the two cards gripped by the thimb, you may tind it necessary to squire th: two cards by releasing the thimb's grip monentarily and letting the cards rest on the second finger which tas now come back up above the plane of the deck. This second finger Inlds a break for just a second between the double and the deck. the modified deal ing the This allows the thumb t grasp the cards again. The break makes this easy and allows the cards to be grasped as a unit, The thinb now tlds the two cards as one, bowed between the thunbtip and the crotch of the thim, Th» caril(s) are noticeably bowed to allow this to occur. Now you are ready to turn the card(s) over. Follow the next instructions carefully. The — thimb pivots upward so tint the two cards pivot out conntecclockwise to a position perpendicular to the deck. The left forefinger now reactes between the edge of the two cards and the far end of the deck. It is curl ing in to take over the part of tie card(s) teld by th thimb crotch As it does, it pustes the deck down or back out of th way. Tt stides the deck out the Pinky side of tte band, Your forefinger is curled over double. Tle edge of this finger now Lifts the bent card(s) out of the thamb crotch 301As soon as the two cards are securely teld by the thimb and forefinger, the thimb moves back toward th: deck.” This causes the card(s) to revolve face up. When the thmb comes into contact with the left second finger, the two cards are completely face up. This is tte conclusion of tte double lift. Optional Table Placement. This double Tift is particularly well suited for placing the two cards onto tte table since tle lift itself bows the cards which keeps them square. Tle only adjustment to the above procedure is at the end. Instead of bringing tle thinb over to meet the second finger as explained in the last paragraph, as. soon as the to cards are separated from the deck, turn tte whole tand palm down, This turns the two cards face up as you place thm on tte table. rgitations, I fave a film of ee rrr——CCEC_l inspiration you would need to master it. I prefer it as described above. However, for those of you wip lave a difficult time getting the two cards with the thmb, you might want to try this. You will tld the deck exactly as descr ibed above. In addition, the deck will be beveled forward slightly. Use your right thimb to reach over to the far right outside corner. Tle bevel ing and the fact that you are working with a corner instead of a flat edge make the counting and subsequent lifting much easier. From this point on, tie rest of the Lift is identical. SIGIIIS: SUBSCRIPTIONS ITTsssss My, aren't we the toucly ones. In an effort to build the subscriber list to The Trapdoor, last issue I spelled out Wat Right might be called some of the "stor tcomings" of other magic magazines currently available. It seems that some of tte fraternity took offense and ttat the ball is now in my court. Understand that I lave no pride. I fave only the desire to publish tle best magic magazine possible. 1 do this because I enjoy it (and because I lave already spent your subscription money). I do not make enough money off it to lose any friends or create any enemies. For this reason, I have reconsidered the seriousness of my fun-poking and lave looked for ways to resolve tle situation. Having evaluated solutions which range in degree from magazine suicide to a three minute public apology to be aired during next year's Super Bowl talftime, I lave decided on tle following which stould prove even more valuable to the publisters of the targeted magazines. Yes, I fave agreed to formally lend my name to tle endorsement of the magazines with which I compete. While this may spell the end of The Trapdoor, bonor demands that I make thls Stand, ‘Below you will find the names and addresses of tte magazines which I mentioned in the last issue. Treat this as my recommendation to order. The New Tops 1540 Broadway NY, NY 10036 Lines From Lawton Pensylvania Avenue Washing ton, DC Magic Manuscript c/o Tre Magic Castle Er. Bor 36068 Los Ang les, cA 90036 Genii Magazine 7375 Sandy Creek Dr. Raleigh NC 27545 (Please Forward) Inside Magic 407 Carrington Drive Rnightdale, NC 27545 ‘Subscr iptions Continued on page 312 302The last issue, th: Special Dead Raccoon Issue, created quite a stir. Many wrote in to say that they Ind long since discarded their spring pets and were now in the process of locating them to work up the routines. While I think this is great, don't forget that you can also do the routines impromptu. How many ‘times fave you been driving along th higbvay wien you lave seen possible animal volunteers just waiting to participate in your little magic stow? Use your imagination. Others wrote in to say tht thy would like to see mre "stupid pet tricks" in The Trapdoor as a nice break from card Ss. Well, I want to give you wiat you desire and this this special animal inser t. ‘The following tricks are all based on animals. Tey range in diversity from tricks with roacles, birds, and dogs, to my now famous vanishing earthworm. By definition, an illusion is a trick using a person or large animal. All of you close-up people can now advertise as illusionists if you do two things. First, use large roacles, birds, dogs, and earttworms in the following tricks. Second, whenever you fave a card selected when performing non-animal tricks, lave it selected by a person - this qualifying that particular trick as an illusion. Lucinda John Riggs This is a comedy trick by Jom Riggs which uses an imaginary bird. It is quick to set up and packs flat. In addition, it plays well for large audiences as well as small. (For tipse wip haven't already, you may want to cleck "Tle Care & Handl ing of Doves" in, Magic Tle Vanishing Art ---_ Or _How To ea tik Por rae Bese) ~~"First, you will need a Canary Box. This is a box which pet stops give customers to carry their new birds tone. It tas a bird dram on the side. Lacking this, you can use a shoe box with a few Iples puncled in the lid. Place a couple of feathers in the box before starting. You will need something along tte lines of a Lippincott Box (see Bobo's Coin Magic) which will vanish a Borrowed ring. Have a paper cup with water in it behind tle Canary box on your table. Finally, you will require a follow rubber ball with tvo large Iles opposite each otter. Inside the box, place torn pieces of tissue paper. These pieces will pass for featters later in the routine. The ball resides in your pants pocket. Borrow a ring from a member of the audience. Have it placed in the box and steal it from same. Place some cotton in on top to explain (nonverbally) the lack of noise in tte box later. Give the box back to the owner of the ring with the request tiat te go to the far side of the auditorium. As te does, reach for the Canary box. Secretly drop the fingerpalmed ring into the cup of water as you bring forth the box. an amazing feat. Lucinda, “I am going to stow you Inside this box is the world’s smartest finch, Lucinda is going to leave ter box and fly to the back of the auditorium at speeds teretofore unattained by a finch of the common muck. Lucinda bas been clocked by scientists at NASA at speeds approaching Mach 2". 303“Lucinda is going to fly w the back of the room, enter tte box, remove the ring, and fly back to the front of the auditorium, do 2 double somersaul ty circle my tead four times, and drop the ring into my mouth... faster than th human eye can follow. re you ready, Lucinda?" into the box for ter to answer. At this point, a bird warbler or other noisemaker can entance tte routine by faving Lucinda really answer you. Lucinda is ready. Are you ready, Joe?" Give Joe (the ringbearer) an oppor tunity to answer." Peek Open the Canary Box and throw the contents toward the volunteer at the back of the audience. A couple of feathers will fall to tle floor. act excited. "And there ste goes! Go Lucinda, Go!" Follow the flight of the bird to the back of the room. Cleer ber on. "Great! You Inve the ring. Fly back now, Faster, faster, faster.... A little bit lower. While all of this excitement is going on, steal the ball from your pocket and fingerpalm it. At the end of Lucinda's return flight, apparently catch fer in your mouth to your surprise, "Gulp!" Beat your clest as if you are cioking. After a fair amount of wrenching, coking, and turning colors, bring your land to your mouth to cover your cough, As you cough, you will push air into tle ball forcing the "feathers" out the otter side. It appears that you are coughing up Lucinda's featlers. Each time you cough you will expel more feathers, "Lucinda successfully the... cough, you... cough, fas... cough cough. removed the ring from cough.. box. Would cough.. open the box, remove the... cough cough cough... cotton, and stow that the ring Ins indeed vanisted from the box." He verifies that the ring tas vanished. “Lucinda as embedded the ring in my viscera... cough, cough, cough... that is to say, my throat." Doa few more coughs. Then, in attempt to breath a little more freely, reach for the cup of water on your table. Ditch tte ball as you bring forth the cup and drink the water down. Be careful not to swallow the ring as you take it into your mouth Cough a few more times. Ask Lucinda “to let goof tle ring. To finish tte routine, triumptantly open your mouth to reveal the ring. Wipe it Off and give it back to tte audience. (after all, it fas been in te bird's mouth) AS you and tle ring back to its omer, "let's give Lucinda a big round of applause. Not only is sie a great performer. But, sie's also a tasty, nutritious snack." Regurgitations. Since the owner of tte FIs Rey Object to faving it treated as if it were a suppository, you may prefet to use a stooge. Lacking that, you may wish to secretly obtain tle Permission of the owner prior to the stow. This is a stage-size routine witha minimum of props and a lot of laughs. To reset, you simply put the two featters back in the Canary box, stuff more tissue in the Iollow ball, fill the cup with water, and go buy a new Lippincott Box’ since you forgot t& retrieve the old one. A Trick With A BORROWED Dog 31M HYAMS, PAUL SORRENTINO GARY PLANTS EVERT CHAPMAN STEVE BEAM Picture this. You are performing outdoors for a group of strangers. A dog wanders in. You tell th» audience tht you will use this obviously unprepared dog for a trick. You lave a card selec ted and re turned to the deck. Give the deck to the person wip close the card and ask him to deal the cards slowly to tte ground. after te deals ten or so cards, tle dog s tar ts barking. "wiatwas che name of your card2", you ask. He tells you and you instruct him to turn over the next card. The borrowed dog stopped him at his selec tion. 304‘The Work. Tle first option is tint the dog Isa stooge. Another option is, to fave a confederate in the audience with a dog whistle. At a certain Previously agreed upon number, fe is to Start blowing the whistle, upsetting the dog. An alternative is to lave an electrician friend rig up one of tlnse ultrasonic devices used to repel rodents. Have him select a noise range which is within the range audible to the dog. If te can make it pocket-size, all the better. You can trigger it at will. Regurgi tations. Ano ther var ia tion would be rig a device within te range audible to hmans. In this variation, the spectator deals down until the hmans start yelling, waving their lands, passing out, and vomiting. (alttough, | not necessarily in tint order.) This is a great audience participation trick. A-MAZE- ING rf mf TB if IY Steve Beam If an illusion is a tick using a large animal or person, a close-up illusion ‘mst be a trick using a small animai or a small person. or those occasions wire an ordinary wick won't do, this close-up illusion stpuld £i21 bill nicely. This is an idea, aot a completed vinse of you vip work with 1 no doubt convert it int the latter. In effect, a card is at by ammber of tte audience. He is ten asked tw remove any cards from tie deck, making sure Ais selsction is one of ti five. Ye is act w provide any ciue as t which one is his. Tie magician brings out a iittle wooden maze --- one which is used t rout: animals w 305 experiment with mice. There is one starting point in the maze and five possible ending points. Tle spec ta tor is to place one of tle five cards at each of the ending points. The magician now introduces the guest magician for the evening, a small mouse. Not only will the mouse navigate tte maze, but fe will also attempt t discover the selected card. He is Placed at the startof the maze and released. He scurries through the maze arriving at the clpsen card. If desired, the exits can all be left open. Then, after locating the selection, the mouse can jump out onto the laps of the spectators “where they can thank him personally. The Work. While spectators may be familiar with the training of mice, there are still several unanswered ques tions. Sure, you can train a mouse to follow the same course each time, but there are five exits, and therefore five different courses. ‘Further, tow does the mouse know which course will yield the selected card since the spectator placed tle cards in any order te desired. The secret is simple. There are five mice, each trained to take a different path Tie selected card is pecked at by the magician. Wien th spec ta tor places tle cards in the maze, the magician closes the mouse trained for that particular exit. Tir rest is history. (For tlose wi prefer a completely self-work ing approach, use marked cards.) Regurgi tations. Tiere is one bit of information uncovered during the research for this trick. In a book by Gene Sorrows, Catnival Knowledge (Sun Publishing, M447" Peachtree, i flan ta, SA 30309) it states that ammonia smells Like cleese t mice. Since tat is the case, can you imagine the effect you sould gain with only one mouse and a fow drops of anmonia? Simply use the anmonia like daub. Transfer a drop or two from your finger tip to a ciosen card. Scatter ‘tte cards on the table and then release tte wuse. He will sniff each of the cards until te comes to the cinsen card. A fmorous climax to this occurs to me. Let's assume you are performing this at someone's touse and th lst turns out be a leckler. Afterfinding the selected card, you tell the teckler you would like to slow him one of your mathematical card tricks. At this, the mouse scampers off into the woodwork --- never to be tard from again. h well," the ~~ magician exclaims, "He was eating me out of Inuse and tome anyway." At this, the magician bids all (including the mouse's new landlord) good night. The Roach Trick JIM HYAMS This is not the kind of trick you do for paying audiences. It is the kind of trick I would have loved to lave done back when I was in college. Even now, there are a few occasions (mostly with magician friends) wlere I think it would be funny. Contrary to what you may believe, Jim does actually perform this for people when tle right occasion presents itself. Effect, The magician removes two cards from the deck. He asks the spectators if they would like to see the famous Marijuana Trick. Usually they will reply favorably. As fe stpws both cards to be normal both on tle front and back, te asks them if they Imve some marijuana on them. When tley reply tat they do not, te apologizes. “Well, I'm sorry. I guess I can't do the trick, Maybe I can perform it for you at another time. Meanwhile, I will let you keep the roach Please told out your bands." As this last line is uttered, the two cards are placed togetter and from between them falls a dead roach — right into the spectator's cupped lands, Background and Method. Jim came up with THE in Gating at ‘the Winter Carnival of Magic. He was in the all night close-up lounge wlen one of the locals (Jom Bloor, editor and pallbearer of The New Modern Magi) killed a roach Jim was amazed at the excellent condition the cadaver was in, so te immediately developed this miracle to stow to ttose remaining in the lounge. All that is necessary is to fingerpalm tte roach in the left tand while you stow two cards to be normal on both sides. Each Innd Iplds a card and while you are clattering, you can Tepeatedly take the top card and place it on th bottom. As you near tie punchline, place the top card on the bottom --~ underneath the roach The roach is now between the two cards. Tilt them down so that they forma slide so that the corpse can make his timely appearance. rgitations. While it may not Inve “quite the same impact, a rubber roach would still brighten up an otherwise mundane party. The andl ing is the same -—- although a lot more sanitary. One thing further. For those of you wh can't think of a place to use this, picture yourself performing this on your last night table topping at a restaurant from which you tave just been fired. It Kind of makes this trick a wiple lot more appealing, doesn't it? (as) (it ae The Vanishing Earthworm Steve Beam In the past, tricks with animals. are Raisin Rabbits, Magic Aninals, Elwood's Dead Brother, and Tle Special Dead Raccoon Issue of The Tr However, no Special animal Tne ok this magazine would be complete wittout my now famous Vanishing Ear thvorm. This was originally publ isted ten years ago I lave given you many Examples of these 06in my first book, They Don't Make Trapdoors Like They Used TO or You Too Gan Walk Gn Water Since Te book fas been out of print for the last seven years, and since this issue tas four bonus’ pages, I didn't think you would mind if I reprinted it. As I still perform it exactly as it was publ isted, below are th instructions as they originally appeared. This effect is similar t one in the September 1977 M.U.M. on page 23. 1 believe the effect is credited to David Ginn. It is titled, "The Vanishing Farthvorm" also, but is completely different. He uses a rubber worm and a P&L Reel to accomplish the vanish I Propose a complete vanishwithout such gaffs. Also, I feel that the use of an ar tif icial worm cheapens tle effect. All you require for my method is a tube about one inch wide and approximately 11.1 w 11.3 incles long. Bring the worm out and pass him for examination. This is entertainment in itself. Ladies love tricks using cute little livestock. Take the worm back and place him in the tube, Now, when you turn the tube to dump out tle worm, te tas vanished. Actually, tle little sucker is tanging on the inside of the tube for dear life. This vanish looks very convine ing. Now you're going to appear to blow through the "empty" tube. Actually wint you do is this. Puff out your lips like you would normally do to blow air. Some Of you may fnve Ind more practice than otiers at this. Now, suck the worm in and swallow it. You can pass the tbe out for examination and you're clean. You Inve just performed a miracle! rgitations. Tle best way to prac ist Fer this ick is by eating big worms one right after anotter in rapid succession. If you find you lave trouble letting the worm slip down your thoat, run him though a soozee full of fanning powder. When te s tops sneezing, te'll slip much easier. By the way, don't use a worm that's longer tlan about 12 or 14 incles. They take too long to swallow and some thing about the end of a worm dangling from your lips might give away te modus operandi. and make a few of the more squeamish spec ta tors leave. The great thing about this trick is if you screw itup, it's easy that "worm" your way out of it. Utility Vanish Steve Beam Suppose you are ata friend's Ibuse and would like to vanisha worm tht they tappen to lave tanging around and you forgot to bring your tube. For tlose occasioiis I fave found this utility vanish to be more than adequate. Borrox a big book like an encyclopedia or a dictionary. Place the worm in the book and the book on the floor. Now step on tle book. When you open the book and thimb though the Pages, the pages wlere the worm was will stick’ together and te will appear to tave vanis led. rgitations. When using a borroied Book, always ask for te most expensive book in the Ipuse. I'm not sure why, butwitnesses seldom think tlat you’ would squash a worm in an expensive book. This, and tle fact tint they don't know just tow low you will sink to fool them, telps to hide the me thod. John Riggs This is not really a trick. It is more along the lines of the bizarre magick you would find in some of tle stranger magic books and magazines. It's more of a gross gag to me, but some will probably find a way to convert it into something usable. 307In effect, a hungry magician out for a day with real people removes a bag From his pocket. He opens it to remove his snack. From within, be grabs a tandful of flies and pops them in his mouth, The Work. Jom takes raisins and fastens little wings to thm to make them resemble little flies. He makes the wings out of the clear plastic which surrounds cigarette packs. While I am not suggesting that you do the sane, in Jom's words, “all things will pass". He also tells ‘me ttat some there is an edible cellopiane used for nature blocks but lms not yet been able to locate a commonly available source for them. ‘A variation in the performance would be during dinner with otter magicians at a restaurant. When dessert Jom mentions tint te Ins his arrives, own topping. He removes tle bag with the gimmicked flies and sprinkles some on top. Before anyone can look too closely, f® downs the dessert and the evidence Regurgi tations. 1 am not condoning this ~type of performance done in the guise of presenting magic. As a matter of fact, this type of thing can do magic more tamn than good wien tle two are associated with each otter. Personally, I would never perform items of this nature. However, if I were, 1 would prefer to sneak one of the gimmicked flies into the water glass of an unsuspecting victin at the restaurant table. When someone notices the fly, 1 would generously offer to remove it, After fishing it out witha fork, I would finish with, "Well, tlere's no sense letting him go to waste..." At this, 1 would devour the little devil. ‘Piose of you wip like this kind of thing and pian to use tte water glass idea will never feel safe at a magic convention again. You will always be looking ove you siuider w see if Taw in attendance, Ttere will always be the slightest doubt in jour mind as wheter = stpwed up secretly and switched glasses on you --~ substituting areal fly for the imizaticn. Another presentation occxrs ‘0 me if I were of the caliber t> like these things. 1 mention it bere only as a matter of going on record against these types of detractions to the art. Picture this, The magician becones irritated by a fly ttt constantly bothers him as te tries to eat his meal. Fed up, Ie finally catches the fly. “As long as I fave tle little critter, 1 may as well show you the famous balancing fly trick." He removes a tootipick and carefully places the fly on the tip. He spins tle fly on the toothpick, lif ting it higher and higher. Finally, it comes to rest high above the spectators. All mouths are open, This is unfortunate since the fly falls off tt tip of tootlpick and lands in the surprised magician's mouth. "Gulp!", te grunts as te looks down and tries to regain his composure. If I were to do this, I would remenber the following points. Keep the toottpick spinning back and forth between the first finger and thimb so that the fly is not clearly visible for any length of time. Tle imitation fly can be made to fall off tte toottpick by (1) making sure te is only slightly impaled and (2) secretly snapping the match with your right second finger. I£ you are performing this in a dimly lit Place, it really doesn’t matter whetter the fly lands in your mouth They will assume it did by your actions. Finally, it occuts to me that Bd Marlo will réad this and later publish a version where a real fly is used for the balancing fly illusion by applying xore force when impaling him on the tootipick. I just wanted to go on record as faving establisted this in the publisted record first alttugh I'm saving the specific details for a later book on tle subject, my Revolutionary Ar thropod Teciique series. TRAPDOOR PRODUCTIONS 308JOHN HAR w 20:0 The Thing - The Sequel Not wanting to be accused of leaving any topic before it is beaten to death, 1 am now providing you with even more on The Thing or Mr. Jimmy. 1 met Jom at Abbott's in March where te stowed me the following items using fands similar to those in te Mr. Jimmy material. He is from Kendallville, Indiana and tas been using his version for several years. It is mentioned (not taught) in The New Tops in May of 1985. Jom isss tie plastic tand and arm combination which are available at doll stops. This is as opposed to the rubber tends and feet upon which most of The Thing material was based. Give some of it a try and see if you don't make some new friends (at least at tle store which sells tle parts). Fly. This bit combines to of ny favGiT® audience pleasers - body parts and dead insects. You will need a Plastic fly in addition to one of the plastic tands. Coat tte back of the fly and the palm of the tand with rubber cement. You are standing or sitting behind a table. Place tte tand on your right third finger. If your fand is palm up, place tle plastic tend on your finger palm down. The illustration stovld make this position clear. Turn your right tand palm down. Place the fly on the table and position your right Mand about one inch to the right of it. Your fingers ate curled in so ttat tle tips are near the base of the fingers. Your right arm is aimed at a forty-five degree angle forward and to the right which partially obscures the audience's view of your curled right third finger. Now stretch your right third finger in toward the thinb pad at the base of the thmb. This will cause the plastic fand to appear to be reaching out from underneath your fand. It Ins an eerie, lifelike appearance. Place tte palm of the plastic Ind on the back of the fly and pull the finger back in under tle cover of the tand. Tie rubber cement will cause the fly adtere to the nnd. Tt's as if something alive tas veacted out from under your tnd to catch th fly. To perform this, have a card case on the table in front of tte fly which blocks it from the audience's view. When ready for the gag, position your right hand and remove the case with your lef t. Appear not to Mave noticed the fly until the audience calls your attention w it. To this reply, "Oh, don't worry about it. This place Isa little midget exterminator wip can catch just about anything." As you say this, the tend sneaks out and snatcles the fly. By the time you look back down, the fly is gone. "See?" Sponge Balls. Jom tas a nice addition “to the sponge balls wien you are using tte smaller (3/4 incl) balls. The basic position is the same as with the fly except that you use two plastic tands. If your right tand is palm up, place a tand on your third finger palm up and one on your fourth finger palm down. Start witha sponge ball or otter small object on the table as in the bit with tle fly above. At this point, both your right third and fourth fingers emerge from the loosely teld tand to grasp tle ball between the two. They pull tte ball inside tle fist. ‘This is more difficult and will remind you of when you used clop sticks for tle first time. au! This is similar w The Thing material. Start with two plastic tands set up as in the sponge ball bit above. Hold your right tand palm up with the third and fourth fingers curled in to tle right palm. Cover this tand with your palm down left fend. Have the two plastic hands come up through tle gap provided by the left thimb's crotch The two ands can be made to applaud merely by moving the two fingers together and apart in rapid succession. Regurgitations. Since returning from Abbott's, = received a letter from Jom. Tt included pictures of the hands doing such advanced things as tte waterfall flourish and the Linking rings. Save these for bits for special occasions and royalty. 309He finisted his letter with tle following. “There is one more I lave fun with I place a lone lady plastic fond on my right little finger. 1 cup the left tand over to hide the land, similar to the applause bit. Now raise your and and place it to your face and pick your nose. It gets a great reaction when the guy in the next car is staring or... when a scinol bus is in front of me and kids ate waving out the back window. One pick of the nose and all tte kids rush to tle rear of the bus —-- TILT" I fed thought tint the boys in the Southeast were the experts on magic with body parts. However, it appears that Jotn really nose his hands too. Bollover Aces Steve Beam Effect. This tas the same effect as Derek Dingle's classic (Riffle Siuffle Tec!nique - Preliminary Notes © Bare by karl Pulves) with a frac tion ‘Of th effort. 1 tad forgotten about it until I was recently reminded by Gary Hipp. In this version, you need tobe able to do just one easy Zarrow Shuffle and tte entire stuffling sequence takes about ten seconds. This makes it almost self-working. In addition, the roll-over portion occurs with the deck squared, not telescoped as in the original. Mettpd. Tle opening is identical to original. Start with tle deck in the following order fromthe ~— top: (Approximately) 14 indifferent cards, Ten through King of Clubs, Ten through King of Hearts, Ten though King ot Spades, Ten through Kings of Diamonds, (approximately) 14 indifferent cards. The four aces are scattered randomly througiput the deck. Start by giving the deck a few false shiffles. Fan through the deck and remove the four aces. Place them face up on the table. When you come to tte ten of clubs, down jog it for about falf an inch Execute a wide two landed fan face up in your left land. Do not use a pressure fan as you don't want to lose the injogged card. You are now apparently going to lose tte aces in the deck. Pick them up one at a time. Place them in the fan immediately to the right of the corresponding kings. For example, the ace of clubs goes in the fan directly tle right of the king of clubs. Leave the aces protruding for about talf their length Repeat this with the otter three aces. Use your right tand to close the fan, picking up a break beneath tle injogged ten of clubs. Double cut tle ten of clubs to the bottom (back) of the face up deck. Turn the deck face down and table it in readiness for a riffle shuffle. Tle four royal flustes are on top of the deck. Te right tend strips out bottom third of the deck and turns face up. If you are so incl ined, may spread both talves, one face up and the otter face down, to stow their condition. This Ins the added (al though unspoken) benefit of stowing tle cards to be mixed. You are now going to execute tle one Zarrow Siuffle the routine requires. Start the shuffle by allowing a few of the cards from the left Mlf to riffle off the left thmb. Now riffle off cards from both falves. You are watching the cards from tle left talf as they spring off the left thmb. You are wanting to "Zarrow in" under the top ten cards of the left mf, under tle ace of fearts. This is easy since you lave a warning when the ace of farts is for thcoming since it follows tle spades royal flush As soon as you see the face of the ace of fearts resting on the pad of the left thmb, release all of tte cards from the right thimb, followed by tte remaining ten cards the left land is folding. Now execute the Zarrow. This will bring tle entire right lalf intact face up into tle midile of the left telf, under the top ten cards. Retain a thimb break betwen the lower right talf and the bottom lalf of the left band cards. You are now ready for the second, ordinary sinffle. Your right land the it you strips out all the cards beneath the break to the right This is approximately one lf of the deck. This lalf is turned face up in readiness 38for tte stuffle. Start tle shuffle by releasing at least ten cards from the right thmb. Then shiffle the cards naturally from both talves, folding back at least ten cards from the top tmlf. Finally, release these ten cards lecting them fall on top of tle deck. Square the cards. Status Report. You fave just executed WO Triumph type shuffles which fave left you with the entire deck face up except tle top ten cards. Tie wp ten and tle bottom ten are your royal flustes. Turn the deck over as you position it at the near edge of your mat. You are going to roll the cards over away from you. Place your right thumb on the near long edge of the pack. Your right forefinger is curled on top of the pack and your otter fingers are on tte far long edge of the pack. Your right thimb releases the bottom five cards as it rolls tle deck over, away from you. Simply allow five cards riffle off of your thinb. Repeat the "drop five and roll" sequence three more times exposing thee more face up aces. On the side of your mat nearest the audience, you Inve the remainder of the pack. | Pause for them tp appreciate the production of the four aces. Wien ready for tle second climax, snap your fingers (or whatever it is you do) and slide tte face down pack to the right. Spread these cards back toward you sipwing that they are now all face down. This is the second climax. Let this sink in before proceeding. For tte third and final climax, use your left fand to spread tle ace packe ts exposing the four royal flustes. Regurgitations. This is a classic effect and one of tle strongest effec ts possible witha card playing audience. Tt combines a Triumph, a four ace revelation, and a poker deal all in cne Star ting routine. This tandl ing puts it within the abilities of the average magician. For tise of you wl orefer learning the original, you will 2nd a eliminate all the pauses ‘by using the sane deck each time you ao <7 wick. If your routining allows or this luxury, you will find that tte deck learns" the trick and will break wlere desired af ter performing it a few times. If you tave problems riffling off the royal flusies at the end of the routine, you may wish to convexly strip the long edges of tte four aces. Tie packets will tien automatically break above each ace. This is the way I originally worked up the routine. However, I later realized that it wasn't tlat difficult to produce the aces from an ordinary deck. If you want a nice poker deal to supplement this, you might want © ty my Super Stack --~ Tle One Second Poker Stack. Tt allows you t stack any four ‘or five cards froma sinffled deck fall to any position in one second. And, it is even easier tian the above routine. (Tint is, it is virtually self work ing. ) CAROTRIA Steve Beam This is an up to date version of Norman Asbwor th's slate trick, “Before Your Eyes" which was publisted in Annemann's Practical Men tal Effects. In this version, the compu fer screen acts as your slate and it does all of the work for you. (If you lave access t a personal computer but don't desire to keypunch any of the information, see the "Regurgi ta tions" below.) Effect. Tle magician explains to his audience that computers are into everything. They are even trying to break into stow business. = Tie particular computer the magician tas brought with him is especially fond of card cicks. The magician types in, “CARDTRIK". This, te explains, t iggers tie computer w prepare for some sleight of tend. Tp message, "THE NAME OF THE CARD 'TIs" pops cp in te middle of the screen while the cursor remains in the top ieft corner of the screen. The magician ims a card selected and returned to the deck. He asks the aLspectator to toucha button on the key pad of the computer. Now the show begins. The cursor slowly starts moving actoss the top of the screen. Then it moves down until it is directly over the first letter of the message. As it moves across tle top of the message, it occasionally pustes letters in the message down to the next line below. Wien “it gets to the end of th line (tving pusted about lalf the letters down to the next line) it erases or "eats" the letters remaining in the original row. Now the cursor splits into two cursors and each travels to opposite ends of the remaining letters. They now Start compressing tle letters by squeezing thm togetter. Wien tiry are finisted, the letters canbe seen spell out, “THE TEN OF HEARTS". After a brief pause, the two cursors drop to the bottom of the screen. Once again they come together, then back apart. As thy split, they reveal a flashing applause sign. Finally ten little hearts are produced as the computer takes its bows. Alternate Ending. In tte last paragraph, if desired, the applause sign can read, the cursors ‘says, “APPLE SAUCE’ ‘Whoops 1 produced in a little verbage box. The other cursor then tells the first cursor, "You tad better move your 's' The 's' then jumps out of the word “wipops" and scoots over to the word “sauce” and replaces the "c". Tle words now between tle to cursors read, “Apple Sause". ‘Tle two cursors now come foge ther and then back apart, clanging ce flashing "Apple Sause" to Applause". Finally, the ten little rar ts are produced. The Work. Tle work involves pursuading your secretary to keypunch in ‘the computer program listed in this issue. If you ave an "IBM Compatible", th trick is totally selfworking. Merely keypunch the BASIC program in to the same subdirectory as your BASIC compiler. (In other words, key it into the same direc tory with BASICA,EXE and XBASIC.COM. Almost all personal computers come with the BASIC Programming language.) After this is done, type in at the AD or C> the following: BASICA CARDIRIK When this is done, the screen will go blank except for the prediction in the middle. All you tave to do is to force tte ten of tearts. Then, hit the return key and the action will start. After you lave tried the program a few times, you may wish to adjust the speed. This program was written on an IT? Xtra which is an xT Compatible. 1t runs at 6.77 Megater tz. You can speed the program up for a PC Compatible or slow it down for an AT Compatible (or More so for tle new 80386 chips) by adjusting line 58. To slow the program's execution, set X5 equal to something greater thn 88. To speed itup, set XS equal to something less than 80. Regurgitations. For thse of you wt don't care to keypunch any of this but would like to use it, you can order a 5 1/4 DS/oD (Double Sided / Double Density) Disk from me for $15.08 plus $2.00 pos tage and fondling. In addi tion to this trick, there is the Personal Compu ter Version of the tricks listed in issue #6 (Compu-card and Teleforce). If you prefer to keypunch them, the PC version will be in an upcoming issue. The programs I supply on the disk are in ".EXE" format with a menu driven program to allow you to adjust the speed of execution. This means tht you lave simply to put them in the disk drive and type the name of the program and the computer will do the rest. There are also a few miscellaneous programs on th disk. ———— Subscr iptions Continued from page 302 Magick 116 Park St. Williston SC 29853 Apocalypse c/o Karl Fulves _P.0.Box 433 ‘Teaneck, New Jersey 07666 If you find you tave problems getting any of the above to fill your subscription, maybe you will agree tint I was right in the last issue and you stpuld consider sending your $25.00 direct to: The 407 Carrington Drive ‘nightdale, NC 27545 Plone (919) 266-7968 31210 “PROGRAM NAME = CARDTRIK 20 ‘COPYRIGHT 1987 BY STEVEN L. BEAM 30 'TRAFDOOR PRODUCTIONS/407 CARRINGTON DR./ KNIGHTDALE, NC 27545 40 CLS:LOCATE 10,27 50 LET XS=80"*#* X5 IS USED TO CHANGE THE SPEED FOR DIFFERENT COMPUTERS 60 PRINT "THE NAME OF THE CARD ‘TIS" 7® LOCATE 1,1: INPUT "",Aas 90 LET A$="THE NAME OF THE CARD ‘TIS! 90 LET C: Ae OF HE AR T SB 100 LET EN OF HEARTS§! 110 LET PLE SAUCE” 120 LET 130 LET 140 LET 180 LET 160 FOR A = 1 TO 27:LOCATE 1,A:PRINT "g";2FOR I = 1 TO 2#xS:NEXT I 170 LOCATE 1,A:PRINT " "32NEXT A 180 FOR @ = 2 TO 9:LOCATE A,27:PRINT "gf FOR I = 1 TO 2*XS:NEXT I 190 LOCATE A,27:PRINT " ";:NEXT A 200 LET A=9:LET B=27 210 LOCATE A,BrPRINT "g's 220 FOR I = 1 TO 2#XS:NEXT I DELAY 230 LET C=A+1 240 IF MID$(BS, (B-26),1)<>"X" THEN GOTO 310 250 LOCATE C,B 260 PRINT "g's 270 LOCATE Ta+2) ,B 280 PRINT MIDS (AS, (B-26), 195 290 FOR I = 1 TO .S#XS:NEXT I 300 LOCATE C,B:PRINT " "5 310 LOCATE A,B:PRINT " " 320 LET 330 IF 340 GOTO 210 350 ‘** READY FOR DELETE ROUTINE #* 360 LOCATE (Ati), B 370 FOR B=52 TO 27 STEP -1 380 LOCATE (A+1),B 390 PRINT "g" 400 FOR I = 1 TO .S#XSsNEXT I’DELAY 410 LOCATE (A+1),B 420 PRINT " "5 430 NEXT 5 ASQ ‘xx READY FOR SQUEEZE ROUTINE 450 LOCATE Axi, 460 PRINT “g" 470 FOR I = 1 TO 2#xS:NEXT I DELAY 480 FOR B=28 TO Si 490 LOCATE A+1,B 0 LOCATE S80 LOCATE 313590 ‘#* SQUEEZE ROUTINE 200 FOR E=1 TO (LEN(D$)-14 610 LOCATE A+2,E+24:PRINT " 420 LOCATE A+2,E+25 630 PRINT LEFTS(E$,E)5 640 FOR I=1 TO XS:NEXT 1 “DELAY @50 NEXT € 460 ‘** MOVE ROUTINE 670 FOR B=37 TO 32 STEP -1 480 LOCATE A+2,B:PRINT ES: 690 FOR TO XS:NEXT I‘DELAY 700 PRINT " "5 710 NEXT B 720 730 ‘** CURSORS DECIDE ON APPLAUSE SIGN *# 740 FOR I = 1 TO 3O#X5:NEXT I 750 LOCATE 7,14:PRINT “ 760 LOCATE 8,14:PRINT "|LET’S DO THE|" 770 LOCATE 9,14:PRINT "| ‘APPLAUSE* 780 LOCATE 10,14:PRINT "| SIGN NOW. 790 LOCATE 11,14:FRINT “ — 800 FOR I = 1 TO 30#x5:NEXT I 810 FOR E = 7 TO 11:LOCATE E,14:PRINT NEXT E 820 830° 840 ‘** GOTO APPLAUSE SIGN ** 850 FOR E=11 TO 21 860 LOCATE E,32:PRINT " "3 :LOCATE E,46:PRINT 870 LOCATE E+1,S2:PRINT "g's :LOCATE E+1,46:PRINT "gp 880 FOR I = 1 TO xS:NEXT T‘DELAY 890 NEXT E 900 ‘#* PRINT BLINKING APPLAUSE SIGN #* 910 FOR E = 0 TO & 920 LOCATE 22, (32+E+1):PRINT "I"; :LOCATE 22, (47-E-1):PRINT "pp 930 LOCATE 22,32+E:PRINT “ “LOCATE 22, 47-E:PRINT 940 FOR I=1 TO 1.5*XS:NEXT I DELAY 950 NEXT E 960 FOR E=0 TO 7 970 LOCATE 22, (S9-E-1)1PRINT "Ms tLOCATE, 22, (A0+E+1) sPRINT 980 LOCATE 22,39-E:PRINT " ";:EOCATE 22,40+E:PRINT " "5 990 LOCATE 22,1 1000 IF E>S THEN GOTO 1020’ TO KEEP STRING PARAMETERS IN RANGE 1010 LOCATE 22, (39-E):COLOR 17:PRINT MIDS(F%,6-E,E+E+2):COLOR 4 1020 FOR I = 1 TO XS5:NEXT I DELAY 1030 NEXT E 1040 “*# CHANGE APPLE SAUCE TO APPLAUSE ROUTINE 1050 FOR I = 1 TO 30*x5:NEXT I 1060 LOCATE 20,52:PRINT " “4 1070 LOCATE 21,52:PRINT "|WHOOPS! |" 1080 LOCATE 22,50:PRINT "—t——"; 1090 FOR I = 1° TO SO*XS:NEXT I 1100 LOCATE 18, 10:PRINT “ 1110 LOCATE "[YOU HAD BETTER 1120 LOCATE 20,10:PRINT "|MOVE YOUR ‘S’.|" 1130 LOCATE 21, 10:PRINT . 1140 LOCATE 22, 10:PRINT * . 1150 LOCATE 22,10:PRINT “ 1160 FOR I = 1° TO 3O®XS:NEXT I ‘DELAY 314COLOR 0,7 8 PRINT "S SerPRint **° Locate 21, = 1 TO 10#XS:NEXT T COEATE 21} COLOR 4 FOR @ = 98 TO 4% STEP -1:LOCATE 19,A:PRINT "S FOR I = 1 190 XS:NEXT T:NEXT A FOR A = 00 TO 21:LOCATE A,43:PRINT "S"; FOR I = 1 10 XS:NEXT T:NEXT A LOCATE 21,45:PRINT " "3 LOCATE 22,34:COLOR 17:PRINT F1%;:COLOR 4 FOR I NEXT T LOCATE 19,52:PRINT * ” LOCATE 20,52:PRINT "|ARE you)" LOCATE 21,52:PRINT "| READY? |* LOCATE 22,50:PRINT “—t———— "a FOR I = 1 TO 25*XS:NEXT I LOCATE 19,11:PRINT “ LOCATE 20,11:PRINT “ LOCATE 19,11:PRINT “YES. FOR I = 1 TO 10*XS:NEXT I ‘DELAY LOCATE 20,11:PRINT PUSH! FOR I = 1 TO 10*XS:NEXT I FOR E=19 TO 22:LOCATE E,50:PRINT " iNEXT E'T0 CLEAR BOXES FOR E = 18 TO 22:LOCATE E,10:PRINT " "3 ENEXT E 1400 FOR E = 0 10 8 1410 LOCATE 22, (SO+E+1) :PRINT " LOCATE 22,30+E:PRINT " * FOR NEXT E LOCATE A-1,43:PRINT "5 OCATE 22, (49-E-1)2PRINT “g's CATE 22,49-E:PRINT " TO 1,5*XS:NEXT I DELAY FoR 107 LOCATE 22, (39-E-1) :PRINT “ LOCATE 22,59-E:PRINT " LOCATE 22,1 1500 IF E>S THEN GOTO 1530‘TO KEEP STRING PARAMETERS IN RANGE 1810 LOCATE 22, (39-£):COLOR 17:PRINT MIDS (F2$,6-£,£+642):COLOR 4 1520 FOR I = 1 TO 1.2*XS:NEXT I‘DELAY 1530 NEXT E 1540 FOR I = 1 TO 10#X5:NEXT I‘DELAY 1850 FOR € = 4 TO 25 STEP 4 0 LOCATE 22, (38-E-1):FRINT CHRS (31 1570 NEXT E 1580 SYSTEM 1 AOFEFL OCATE 22,4046: PRINT OCATE 22, (41441) :PRINT CHR$(3); Because the computer keyboard does not have special characters used in the verbage boxes and the moving cursers, they are constructed using ASCII codes. If you hold the ALT button down while keypunching the ASCII code, the screen will display that particular part of the box. Here is the breakdown of the boxes. Top left corner = 218 Top right corner = 191 Boctom left corner = 192 Bottom right corner = 217 Top & bottom sides = 196 Eeft & Right sides = 179 For example, if you want to print the top left corner of the box, you would hold the ALT button down while keying "218". When you lift up on the ALT button, the screen will display the top left corner. The cursers are ASCII Code 219. ausLEFTOVERS The Trapdoor is back on scledule. After a stort bout with tardiness, I fave reformed and am now back in the saddle. I could mention the new job, new children, new touse (and accompany ing yard work) as the culprits. However, I feel that this would be copp ing’ out and will therefore not even mention them, Suffice it to say tht this is the June 1987 issue of Tle ‘Trapdoor publisted in June of 1987, ~ (I knew that I Ind a reason for not dating this publication when I first started.) Tt is getting tarder to separate the news magazines (television or print) fron the tabloids. An article in the May 15, 1987 TV Guide reported tht in 1978, ABC hired a Psychic to help it decide which stows it should produce for the upcoming year. The news department of The Trapdoor, smelling a story, contacted ABC president Roone Arledge for comment. Mr. Arledge, through his personal secretary, Ind tle following to say. "ABC Is not and will not use such ridiculous metiods as psychics to forecast ratings success. ABC Ins a compl icated statistical method wrereby a Program's potential is assigned a relative value based on monthly variations. Now let's assume the program's producer is a Libra..." The May 4, 1987 edition of U. News & World Report reported that Senate Foreign “Relations Clairman Claiborne Pell assenbled government officials in the attic of the Capitol to listen to Uri Geller, Israeli Psychic and spoonbender . It seems they were interested in wint fe Ind divined about the Soviet military intentions. This stould not stock you since te tad once before briefed former President Jimmy Carter. (At least that explains why Nancy Reagan Ind to order new place settings of the presidential China -— all of ter spoons Were bent.) I understand that wien they ran out of time, Uri was in the process of rendering his version of the ball and vase and the 21 card trick. Personally, I don't blame than for retreating to the attic to conduct the "experiments". 1 understand that they are going to spend a weekend next February witha medium trying to get in touch with George Washington. It seems that Martie Ind a recipe for peach strudel that Mrs. Pell just can't live without. I don't know about tke rest of america, but I feel much better now that I know our criminal investigations, television programing, and national security are all based upon Psychic Phenomena. We can all sleep more soundly feeling tlat the networks, the police, and congress lave everything under control. (I wonder which Psychic close The Dukes of Hazard.) I just returned from a weekend session in Blacksburg, Virginia twsted by Paul Sorrentino. In addition to Paul, Jim Hyams, Gary Plants, and Evert Clopman made it an enjoyable and Productive three days. Ali contributed to an upcoming special issue and are also represented in this issue. By the way, Gary does some of the best card magic I fave seen in a long tine. I fave been doing a fair amount of flying for my day-time tobby recently. On three separate occasions I flew Delta to Denver, Kansas City, and Atlanta respectively. I opened the newspaper once I bad boarded tle plane only to read about the FAA investigation into the airlines. It seems they were Iaving trouble with engines stalling and with pilots landing on the wrong runways. You tave all lead of the Frequent Flier programs. Delta las a new one encourage passengers to fly... the Frequent Dier Program. Well, that's about all from the big city. I have run out of room. It is rare that you get a twenty page issue with only a one page Leftovers. Next time I'l fave more including a report on the birthiay roast Harry (Lorayne) is throwing for Karl Fulves.... using real fire. Steve Beam July 29, 1987TRAP_DOOT Written, a 1 Coy by een. I Beam S S Steve Beam | BUSINESS CARDS Doug Bennett’s Business Merger is one Tt uses a (borrowed) business produces a very effective restoration of a torn corner. presenting here is a complete restored borrowed business card strong in effect and method, are empty at the beginning and the end yet you rip a borrowed card to shreds then restore body it without going card and What T It Your hi | of the great doalee itene of this decade, | and and ands and the U E 7 19 There is a fair amount of work involved in this --- how much work depends on whether or not you have used the Tenkai Palm before. Tf you have, you should have this mastered is a couple of hours. This should be easier than most of your routines since a business card is much smaller than a playing card and therefore easier to conceal in the palm. As you read the method, notice how well the patter serves to take the heat off the hands. Béfect. The magicians asks for the business card of one of nis spectators "You have been such a good spectator, I thought T would call you if I ever needed another audience. You don®t mind, do you?" After he makes a few comments about the grofession of the spectator, he | explains that he is running out of space in his wallet. "1t°s all of those thousand dollar shows, you know. And, to save that precious space, I don’t really need the whole business card. All I need is your name and address," At this, he tears the borrowed card in half. "As'a matter of fact, T know who you are -- so I don°t really need your name either". At this, he tears the two halves into quarters. "Come to think of it, 1°m going to call you on the phone. I don®t_ really need your address. LT need is your phone number". He tears the card again. Looking at the card, the magic reads the phone number.” "8-3~ phone number staxts with 8-3-2 also. 1°11 just remember that your auaber starts with the same prefix mine does. Al\ I need are the last four digits of your number ana ealeees eared cealueciaedy)"Well, — guess I have all of your the left hand. card that T°N1 need, Mr. ....., What was Look at the card. ‘The first thing | your name again?" The spectator’ answers. | you want to do is commit the prefix of his { "tr sure is a coincidence that you have | phone number to menory. Don*t memorize | the same 2-3-8 prefix that I do, isn’t it ( the area code --- only the first three | Say what? Yours is 8-3-2? Well, that’s | digits of the seven digit number. Now is | ckay, € know where you live." The | the time to wake any comments you wish to magician looks at the pieces of the card meke, Be careful what you say, But, if "Uh, where do you live?" Before the | the situation is right, one of ‘the | spectator can explain, the magician says, following may de appropriate, (Keep in “wait. [have a better idea." At this, | i that you don’t want to risk offending he places all of the pieces into his left | Jour scar spectator). hand, The hand is turned over with @ flourish and the whole card emerges from | “reit me, Me. Jones, Just exactly what the fist. Both hands are seen empty as pceer Win cece see } the magician exclaims, "Maybe I had better | keep your whole card." At this, the "where do you vork as a male stripper?" magician places the card in his pocket and Proceeds with the mext trick. "I*1l give | "wow tong nave you been a female | you accall the next time I°m in the area | impersonator?" | performing." The Work. This uses a standard card "Yow many other human bookends are in the | move to accomplish the entire effect. It southeast?" hinges on the fact that most business | cards are the same size and color. If you "Hma. I thought Gigolo was spelled with a Assuming that the card will match in ask for the card so you can use the Se spectator in the future and his card doesn®t match yours, just pocket it and Using one of the questions above as people will dismiss it as polite misdirection, you are going to add the | recognition and appreciation of a good | pslmed card to the back of the borrowed | sport. Tt will pass as a gag card. Your right hand comes over and | i places the palmed card squarely onto the color and size more often than not, you back of the borrowed card. Use your right will need the alternate instructions. fingertips as well as the left fingers and Tura slightly to your left. Start with palm to assist in the instant square your business card face (printed side) process, down in the right hand in the Tenkai Palm. { Ask for the card from the spectator. Take the card with your palm up left hand. Take the card face (printed side) down in your left palm. Using a variation of a Rag which was in issue #3, point to the blank card with your right forefinger. "The card is blank you must be unemployed." As you are awaiting your response, your right hand comes over and places the | Tenkai palmed card directly on top of the borrowed card. The card is released and | the left fingers immedigtely start squaring ¢he two cards under cover of the right hand. The right hand now reaches over the far end of the two cards and turns the two cards face up end over end. During the turning process, the right hand helps to complete the squaring process. | “on, there it is. Thad it upside down." Tuis gag does a good job of covering the move. The borrowed card is now face up in 318As soon as the cards are square - and just a fraction cards as one from the front short end with thumb on top and fingers on the face. is brought up to with the face hands together. As you do, use your two fingers to pivot the face Tenkai Palm position. Tt is held there by third finger if your right side is slightly they will not see the which is now in your right hand resting on vight fingers. right angle to the duplicate, the audience, are now free to tear the card as the tearing process you don*t get carried away and flash the palmed card. When you are down to the phone number, square all of the pieces you have, and lift the top piece of the face down’ pieces and flash it to your face only. Call off the same three digits you memorized earlier as if you are reading them off of their card Replace the piece on top and make one last tear, Square all the pieces. You are now ready for the restoration. Transfer the pieces to the left hand between the left thumb on top and the first two fingers on bottom. Your open right hand approaches the pieces and clips them at the base of the right first two fingers. Be careful that you don°t flash the clipped pieces from the front. You want it to appear that you took the pieces from the left hand into a loosely closed right fist. This fist, which is possible even with the palmed card, helps to throw off any idea that you may have a whole card concealed. The moment after you apparently take the pieces, you are going to pretend to drop them into the cupped left hand. Actually, you release the paimed card which falls into the left hand. Tt is blocked from the spectator°s view by the right hand. The left fingers immediately close around the card and the hand turns palm down. Let me review this last series from the audiences point of view. After tearing their card to shreds, you read part of the phone number off one of the pieces of the card. You then made one more tear. After this last tear, you were holding the pieces becween the left thumb and first two fingers. You took them with your right hand and dropped them into your left hand near the palm. For the restoration, execute the Vernon Push Through Flourish very slowly. In other words, use your left thumb to slowly push the business card out of the heel side of the left hand. To keep the heat off of your right hand, it should be held flat as it massages the back of the left fist. The card will emerge from the fist face up. Now comes the angular cleanup. Take the card as it emerges from the fist with your right hand with the thumb on the face and the fingers on the back. Lift the card up so that the back of it is toward the audience. Continue rotating your right arm clockwise at the elbow until the right thumb and fingers arey pointing up. As you do this rotation, you can turn so that you are directly facing your audience. Now lower your right hand s0 that the thumb and fingers are pointing to the spectator. You will find that your right thumb blocks the spectator’s view of the torn pieces. Your left hand, which is held loosely and palm up to emulate your right hand, can snap the business card to show its singularity. i To clean up, you can reverse the right arm°s pivot to place the card into your inside breast pocket, Lift the right hand so the the fingers are pointing toward the ceiling, then pivot the arm counter clockwise as it makes its way into your coat. Wayne Kyzer suggested a good ending to tack onto the above. When you place the business card in your breast pocket, retain it in you hand but dump the pieces. Immediately bring the card back out with, "You did say I could keep this, didn°t you?" This shows your right hand completely empty and gives them one more clear view of the restored card. Regurgitations. The great thing about this is that it doesnt cost you a cent. Assume that you have somebody in your office who youdon°t like. Just keep getting business cards from them and using them to practice the trick, You get your gimmicks free and they think you are drumming up business for them. After a week or two, he°ll be sucking up so badly that he°ll’ be begging you to take more than the dozen cards you’re asking him for. If you happen to like everybody at work, you can do this to your boss or to a car salesman. Both seem to have more business cards than they have business. This is the perfect follow up to The Vanishing Pen and The Reversing Pen, both from Issue #4. At the end of these two effects, you can destroy the card which you will have them sign with the pen used in these effects. Not only do they flow well together, the fact that the card is signed adds to the overall impact. (They might otherwise think that you somehow managed to obtain a duplicate of their business card.) UPDATE I have added a whole new side to Wayne Kyzer°s life --- paranoia. Referring to the Leftovers section of Issue #13, you will remember that I played a tiny little joke on Wayne utilizing his new answering machine. I had someone call him with all the information (including the bucks) which was needed for a prospective show. Everything, that is, except for the phone number with which to contact the person. Since this friendly little dig, many he has accused me of a follow up joke. Most recently, he received a call regarding a show and the lady left her number, The problem, according to Wayne, is that she left too’ many numbers. It seems her phone number has eight digits instead of the seven that the rest of times Continued on page 322 320