THE

INIITAIIR
E I L F BULL, H A L F MAMIE"
© C o p y r i g h t 1992 b y M a r v i n J. L e v e n t h a l & D a n i e l D . H a r l a n M a r c h 1992 / $5.00

Dan Harlan's
FINANCIAL ATTRACTIO D H : H o w w o u l d y o u l i k e to b e a b l e to m a k e a b o r r o w e d b i l l c l i n g to
y o u r fingertips, fly t h r o u g h the a i r , a n d d e f y g r a v i t y ? W e l l w i t h t h i s n e w
i d e a i n t h r e a d w o r k , y o u ' l l b e able to d o just that, b u t the b e s t p a r t is that
a f t e r y o u r i n i t i a l set u p , y o u c a n p e r f o r m t h e s e m i r a c l e s j u s t a b o u t
a n y w h e r e , a n y t i m e , w i t h o u t a n y reset. T h e r e ' s just o n e r e a l l y s m a l l catch.
I n s t e a d of i n v i s i b l e t h r e a d , t h i s n e w i d e a u s e s that n e w f a n g l e d i n v i s i b l e
e l a s t i c , w h i c h m a y b e a t a d m o r e d i f f i c u l t to c o m e b y . H o w e v e r , b y
c h e c k i n g o u t y o u r favorite m a g i c m a g a z i n e that carries a d v e r t i s i n g
( h o p e f u l l y T H E M I N O T A U R is y o u r f a v o r i t e o n e that doesn't), y o u
s h o u l d be able to f i n d at least o n e o r t w o m a g i c d e a l e r s that s t o c k i t .

M a n y m a g i c i a n s s h y a w a y f r o m floating e f f e c t s b e c a u s e o f t h e i n h e r e n t
d i f f i c u l t i e s i n u s i n g i n v i s i b l e t h r e a d . J u s t to n a m e a f e w ( d i f f i c u l t i e s that
is, not m a g i c i a n s ) , the t h r e a d c a n get t a n g l e d w h i l e p e r f o r m i n g other
e f f e c t s ; i t ' s h a r d to g e t r e a d y to h o o k t h e t h r e a d u p w i t h o u t e x c u s i n g
y o u r s e l f to g o to t h e b a t h r o o m ; o n c e h o o k e d u p , t h e t h r e a d s e v e r e l y
l i m i t s y o u r m o b i l i t y ; a n d i f s d i f f i c u l t to c l e a n u p a n d reset t h e t h r e a d for
repeat p e r f o r m a n c e s w i t h o u t b r e a k i n g it.

M e r e l y substituting i n v i s i b l e elastic for i n v i s i b l e thread alone does not

a l l e v i a t e these d i f f i c u l t i e s . H o w e v e r , I b e l i e v e the u n i q u e m e t h o d I've
d e v i s e d for h o o k i n g u p i n v i s i b l e elastic not o n l y o v e r c o m e s these
d i f f i c u l t i e s , it a l s o u n c o v e r s i t s p r e v i o u s l y u n t a p p e d v e r s a t i l i t y , w h i c h I
h a v e e x p l o i t e d i n Financial Attraction.

F o r starters, y o u ' l l n e e d to a s s e m b l e a s i m p l e i n v i s i b l e e l a s t i c g i m m i c k .
A l l y o u n e e d to d o i s a t t a c h the e n d s o f a n a p p r o x i m a t e l y s i x t e e n i n c h
l o n g p i e c e o f i n v i s i b l e e l a s t i c to t w o s m a l l r e c t a n g u l a r c a r d s r o u g h l y
m e a s u r i n g o n e a n d a h a l f i n c h e s b y t w o a n d a h a l f i n c h e s e a c h ( F i g u r e 1).
A d h e s i v e tape h a n d l e s the a t t a c h i n g part n i c e l y , a n d the t w o c a r d s can
be cut o u t of a n o l d p l a y i n g c a r d . T h a f s the g i m m i c k .

1 Reverse Inflation 5

N Prints Re: Gent 6

S Bangle Tangle 7
1
i
8
D
E F r o m the L a b y r i n t h 12
 T o h o o k it u p , y o u n e e d to be w e a r i n g a d a r k c o l o r e d , l o n g s l e e v e s h i r t .
T h e d a r k c o l o r w i l l h e l p c a m o u f l a g e the i n v i s i b l e elastic, w h i c h is not
q u i t e as i n v i s i b l e as i n v i s i b l e t h r e a d i s . A s s u m i n g y o u h a v e s u c h a s h i r t
o n , u n b u t t o n b o t h c u f f s a n d r o l l b o t h s l e e v e s u p just b e l o w y o u r e l b o w s .
T h i s c a n u s u a l l y be a c c o m p l i s h e d w i t h three " r o l l s " o f e a c h c u f f .

H o l d either c a r d of the g i m m i c k t e m p o r a r i l y b e t w e e n y o u r f r o n t teeth, as

y o u u n r o l l y o u r left s l e e v e o n e r o l l . S l i p the o t h e r c a r d u n d e r t h i s c u f f o n
the p a l m s i d e of y o u r left a r m so that the e l a s d c e x i t s the c u f f t o w a r d the
i n n e r s i d e o f y o u r left e l b o w ( F i g u r e 2, p r e v i o u s p a g e ) . R e - r o l l y o u r left
c u f f o n e r o l l to l o c k t h e c a r d i n p l a c e . N o w r e m o v e t h e o t h e r c a r d f r o m
y o u r m o u t h a n d i n a s i m i l a r m a n n e r l o c k it i n p l a c e i n y o u r r i g h t c u f f .
Y o u s h o u l d n o w have a length of i n v i s i b l e elastic r u n n i n g f r o m one
e l b o w to the o t h e r ( F i g u r e 3). F o r f u t u r e r e f e r e n c e , I ' l l m o d e s t l y r e f e r to
t h i s s e t u p as the Harlan Hookup.

B y the w a y , b e c a u s e i n v i s i b l e elastic is s o m e w h a t s h i n y , w i t h the

g i m m i c k i n p l a c e y o u s h o u l d c o l o r the e l a s d c ' s e n d r e l e n g t h , f r o m e l b o w
to e l b o w , w i t h a p e r m a n e n t b l a c k m a r k i n g p e n . T h i s d u l l s t h e e l a s t i c
e n o u g h to p r e v e n t y o u r spectators f r o m c a t c h i n g a g l i n t o f l i g h t o f f o f it.

B e c a u s e the s i x t e e n i n c h p i e c e of e l a s d c c a n b e s t r e t c h e d to o v e r f i v e feet
w i t h o u t b r e a k i n g a n d is s e l f - c o n t a i n e d o n y o u r b o d y , the Harlan Hookup
o v e r c o m e s the i n h e r e n t d i f f i c u l t i e s a s s o c i a t e d w i t h t r a d i t i o n a l t h r e a d
w o r k . T h a t i s , the e l a s d c i s a w a y f r o m y o u r h a n d s , w h i c h a l l o w s y o u to
p e r f o r m other effects w i t h the g i m m i c k i n p l a c e ; the elastic w i l l not
t a n g l e ; y o u h a v e a l m o s t c o m p l e t e f r e e d o m o f m o v e m e n t ; a n d a f t e r its
i n i d a l s e t u p , it is a l w a y s set to use.

W i t h the Harlan Hookup i n p l a c e , y o u a r e r e a d y to p e r f o r m the f o l l o w i n g

effect, b u t first y o u m i g h t w a n t to get u s e d to h a v i n g it o n f o r a w h i l e . A s
a n exercise, try s p r e a d i n g y o u r a r m s w i d e apart. T h e n try p e r f o r m i n g a
c a r d o r c o i n t r i c k w i t h it o n . A s a d v e r d s e d , y o u ' l l d i s c o v e r that the elastic
d o e s n o t r e s t r i c t y o u r m o v e m e n t s , a n d y o u a r e a b l e to p e r f o r m o t h e r
effects w i t h it h o o k e d u p . N o w let's m o v e o n to Financial Attraction.

A s k to b o r r o w a b i l l f r o m a s p e c t a t o r . E x p l a i n t h a t y o u ' v e d i s c o v e r e d
that y o u c a n create a static e l e c t r i c c h a r g e i n p a p e r m o n e y b y r u b b i n g it
o n a c l o t h s u r f a c e a n d offer to d e m o n s t r a t e . A s y o u r e a c h to t a k e the b i l l
f r o m y o u r spectator, y o u w i l l a l m o s t n a t u r a l l y e x t e n d b o t h y o u r e l b o w s
o u t i n f r o n t of y o u . W i t h b o t h e l b o w s i n t h i s p o s i t i o n , g r a s p e i t h e r s h o r t
e n d of the b i l l b e t w e e n y o u r r i g h t t h u m b a n d i n d e x a n d m i d d l e f i n g e r s
a n d t u r n y o u r r i g h t h a n d p a l m d o w n so that the b i l l h a n g s d o w n b e l o w
y o u r h a n d . W i t h y o u r elbows still extended, m o v e y o u r right forearm
t o w a r d y o u r c h e s t , so that the b i l l g o e s a b o v e the e l a s t i c , a n d p l a c e the
b i l l i n the space b e t w e e n y o u r chest a n d the elastic ( F i g u r e 4).

G r a s p the o t h e r s h o r t e n d of the b i l l b e t w e e n y o u r left t h u m b a n d f i n g e r s

b e l o w the e l a s t i c . P l a c e the b i l l a g a i n s t y o u r s h i r t at the c e n t e r o f y o u r
chest a n d g e n t l y r u b its surface o n y o u r s h i r t b y m o v i n g b o t h h a n d s
s i m u l t a n e o u s l y u p a n d d o w n a c o u p l e of times.

N o w m o v e the b i l l f o r w a r d a g a i n s t the e l a s t i c a n d , i n a c o n t i n u o u s
m o t i o n , f o l d the b i l l i n h a l f so that the e l a s t i c i s i n s i d e o f i t . T h e f o l d e d
5 e d g e of the b i l l s h o u l d b e t o w a r d y o u ; the s h o r t e n d s o f the b i l l s h o u l d be
t o w a r d y o u r spectators. Y o u r left h a n d creases the f o l d , w h i l e y o u r r i g h t
h a n d h o l d s the s h o r t e n d s of the b i l l . T h e n h o l d the s h o r t e n d s tightly i n
y o u r r i g h t h a n d as y o u r left h a n d r e l i n q u i s h e s its g r i p ( F i g u r e 5).
T o c o n t i n u e , l o w e r y o u r l e f t f o r e a r m s l i g h t l y b e l o w t h e l e v e l of the b i l l
b u t k e e p it i n f r o n t of y o u w i t h y o u r e l b o w s l i g h t l y b e n t . Y o u r r i g h t h a n d
c a r r i e s the b i l l o v e r y o u r left a r m to a p o i n t a b o u t f o u r i n c h e s a b o v e y o u r
l e f t e l b o w o n the o u t s i d e of y o u r a r m . R e s t t h e f o l d a g a i n s t y o u r o u t e r
a r m a n d m o v e the s h o r t e n d s d o w n w a r d so t h e b i l l i s f l a t a g a i n s t y o u r
a r m ( F i g u r e 6). N o w t u r n y o u r l e f t s h o u l d e r i n t o w a r d y o u r s p e c t a t o r s
a n d r u b the b i l l o n y o u r o u t e r left a r m u s i n g y o u r r i g h t h a n d .

M e n t i o n t h a t the s t a t i c c h a r g e c r e a t e d b y r u b b i n g t h e b i l l w i l l m a k e it
c l i n g w h e r e v e r it is p l a c e d . R e l e a s e y o u r r i g h t h a n d ' s g r i p o n the b i l l a n d
the elastic w i l l h o l d it i n p l a c e o n y o u r o u t e r left a r m , a p p a r e n d y c l i n g i n g
to y o u r shirt. N o w r e g r i p the f o l d e d e d g e of the b i l l w i t h y o u r r i g h t h a n d
a n d m o v e i t to a n e w s p o t a c o u p l e o f i n c h e s t o e i t h e r s i d e o f t h e
p r e v i o u s o n e . R u b the b i l l a g a i n s t y o u r l e f t a r m a g a i n at t h i s n e w s p o t
a n d release it there. O n c e a g a i n the b i l l a p p e a r s to c l i n g to y o u r shirt.

O n c e the c l i n g i n g e f f e c t h a s r e g i s t e r e d , r e g r i p t h e s h o r t e n d s o f the b i l l
b e t w e e n y o u r r i g h t t h u m b a n d i n d e x a n d m i d d l e f i n g e r s . T h e n c a r r y it
a r o u n d t h e s i d e of y o u r l e f t s h o u l d e r , s l i g h t l y b e h i n d y o u r b a c k , a n d
t h e n o v e r the t o p o f y o u r left s h o u l d e r to y o u r f r o n t . T h e e l a s t i c s h o u l d
r u n f r o m y o u r left c u f f to b e h i n d y o u r left s h o u l d e r , o v e r the t o p of y o u r
left s h o u l d e r , t h r o u g h the b i l l , a n d a c r o s s y o u r c h e s t to y o u r r i g h t c u f f
( F i g u r e 7). T h e b i l l w i l l n o w c l i n g to y o u r s h i r t n e a r t h e f r o n t of y o u r left
s h o u l d e r . Just r u b it there a n d let g o . E x p l a i n that it d o e s n ' t m a t t e r w h e r e
y o u p u t the b i l l ; the static c h a r g e m a k e s it c l i n g .

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

f o r w a r d a n d to the l e f t so t h a t the e l a s t i c s p r i n g s o f f y o u r l e f t s h o u l d e r .
T h e elastic s h o u l d n o w be r u n n i n g f r o m y o u r left c u f f t h r o u g h the b i l l to
y o u r right cuff. T e l l the s p e c t a t o r w h o l o a n e d y o u the b i l l that s o m e t i m e s
w i t h e n o u g h static c h a r g e , s o m e u n u s u a l t h i n g s c a n h a p p e n . E x t e n d the
b i l l to y o u r s p e c t a t o r a n d ask h i m (or her) to h o l d its s h o r t e n d s b e t w e e n
t h e t h u m b a n d f i n g e r s of e i t h e r h a n d . T h e n a d j u s t y o u r g r i p to
a p p a r e n t l y s t e a d y the b i l l b y h o l d i n g the c o r n e r s of the f o l d e d e d g e , o n e
corner w i t h each h a n d . A c t u a l l y , y o u are c o v e r i n g the elastic r u n n i n g
a l o n g y o u r a r m s f r o m these c o m e r s to y o u r c u f f s ( F i g u r e 8).

O n c e y o u are s u r e y o u r s p e c t a t o r h a s a tight g r i p o n the b i l l , release y o u r

o w n g r i p b u t k e e p y o u r h a n d s c l o s e t o , b u t s l i g h t l y a b o v e , the c o r n e r s
y o u w e r e h o l d i n g just a m o m e n t a g o . E x p l a i n t h a t w h e n y o u t e l l h i m to
d r o p the b i l l , h e s h o u l d i m m e d i a t e l y r e l e a s e the b i l l a n d a l l o w it to f a l l
f r e e l y . T h e n t e l l y o u r s p e c t a t o r to d r o p the b i l l . T h e m o m e n t h e r e l e a s e s
the b i l l , r a i s e y o u r h a n d s a b o v e y o u r s h o u l d e r s a n d t h r o w y o u r e l b o w s
b a c k to the sides of y o u r b o d y . A s a r e s u l t , the b i l l w i l l f l y t h r o u g h the a i r
a n d l a n d a g a i n s t y o u r s h i r t i n the c e n t e r of y o u r c h e s t . A t t h i s p o i n t , y o u
m i g h t w a n t to m e n t i o n that y o u h a v e a d e f i n i t e a t t r a c t i o n to m o n e y .

W i t h t h e b i l l s t i l l c l i n g i n g to y o u r c h e s t a n d y o u r e l b o w s s t i l l at y o u r
s i d e s , b r i n g b o t h h a n d s b a c k to the b i l l a n d p l a c e y o u r f i n g e r s o n t o the
s u r f a c e of the b i l l f a c i n g y o u r s p e c t a t o r s so t h a t t h e u p p e r s i d e o f y o u r
i n d e x fingers are just s l i g h t l y a b o v e the f o l d . N o w s l i d e y o u r t h u m b s
b e t w e e n the b i l l a n d y o u r s h i r t . T h e n m o v e t h e m u p b e h i n d the b i l l , o v e r
t h e e l a s t i c e x t e n d i n g f r o m the t w o f o l d e d c o r n e r s o f t h e b i l l , o n t o the
u p p e r s i d e s o f y o u r i n d e x f i n g e r s j u s t b e l o w t h e f i r s t j o i n t , i n o r d e r to
p i n c h the elastic b e t w e e n y o u r t h u m b s a n d i n d e x f i n g e r s . ( F i g u r e 9).

W h i l e s t i l l p i n c h i n g t h e e l a s t i c , f l a t t e n b o t h h a n d s a s m u c h as p o s s i b l e
a n d s e p a r a t e t h e m so t h a t o n l y y o u r f i n g e r t i p s a r e t o u c h i n g the f r o n t of
the b i l l . N o w m o v e y o u r h a n d s a n d e l b o w s f o r w a r d a w a y f r o m y o u r
chest; the b i l l w i l l a p p e a r to c l i n g to y o u r f i n g e r d p s . E x p l a i n t h a t there is
so m u c h stadc c h a r g e i n the b i l l that it e v e n c l i n g s to y o u r h a n d s .

N o w m o v e y o u r r i g h t h a n d a w a y f r o m the b i l l , s l i g h t l y to the r i g h t a n d
a b o v e i t , w h i l e s d l l p i n c h i n g the e l a s d c b e t w e e n y o u r r i g h t t h u m b a n d
i n d e x finger. C u r l i n a l l of y o u r r i g h t fingers except y o u r i n d e x finger
a n d p l a c e its tip o n t o p of the f o l d e d e d g e at its c e n t e r . T h e n s l o w l y m o v e
y o u r l e f t h a n d s l i g h t l y u p a n d to t h e l e f t o f t h e b i l l a n d t u r n it p a l m
d o w n . N o w s p r e a d y o u r left t h u m b a n d f i n g e r s a p a r t . I n this w a y the
elastic, w h i c h i s r u n n i n g o u t the left s i d e o f the f o l d a n d t h r o u g h the f o r k
of y o u r left t h u m b , i s s c r e e n e d b y y o u r left h a n d , a n d t h e b i l l a p p e a r s to
b e c l i n g i n g o n l y to y o u r r i g h t i n d e x f i n g e r at a s l i g h t a n g l e ( F i g u r e 10).

A f t e r y o u r s p e c t a t o r s h a v e g i v e n y o u a h a n d f o r t h i s feat, e x t e n d y o u r
r i g h t m i d d l e f i n g e r n e x t to y o u r r i g h t i n d e x f i n g e r a n d m o v e y o u r i n d e x
f i n g e r s l i g h d y so that the b i l l s l i p s off its t i p a n d s p r i n g s b e t w e e n the tips
of y o u r i n d e x a n d m i d d l e f i n g e r s ( F i g u r e 11). Y o u are n o w r e a d y to h a n d
the b i l l b a c k to its o w n e r . T o d o so, s p r e a d y o u r r i g h t t h u m b to release its
g r i p o n the e l a s t i c , a n d t u r n b o t h y o u r h a n d s s o t h a t t h e i r p a l m s f a c e
y o u r s p e c t a t o r s , s p r e a d i n g y o u r t h u m b s a n d f i n g e r s a p a r t to s h o w t h a t
b o t h h a n d s are e m p t y ( F i g u r e 12). T h i s s h o u l d release the e l a s t i c f r o m the
f o r k s of b o t h t h u m b s . If it d o e s n ' t , t r y l o w e r i n g y o u r h a n d s s l i g h t l y w h i l e
raising your elbows slightly.

Finally, turn y o u r right p a l m toward y o u and bend y o u r right fingers i n

so that their tips p o i n t t o w a r d y o u a n d the s u r f a c e of the b i l l i s p a r a l l e l to
the f l o o r . B y r e l a x i n g y o u r g r i p o n the b i l l , the elastic i s r e l e a s e d f r o m the
b i l l so t h a t it is o n c e a g a i n r u n n i n g d i r e c t l y f r o m y o u r l e f t c u f f to y o u r
r i g h t c u f f . Y o u c a n n o w h a n d the b i l l b a c k to i t s o w n e r f o r e x a m i n a t i o n ,
a n d a l t h o u g h y o u are f o r a l l i n t e n t s a n d p u r p o s e s c l e a n , y o u are s t i l l set
u p to p e r f o r m this effect a g a i n .

H o r n i n g i n ( M L ) : I r e m e m b e r the f i r s t time D a n d e m o n s t r a t e d t h i s at a
local I . B . M . meeting. H e b l e w everyone a w a y . Since then, I have seen
D a n float b a l l o o n a n i m a l s , m a k e objects m o v e o n a t a b l e , a n d a n i m a t e a
p e n l y i n g o n the f l o o r (the p e n w a s o n t h e f l o o r , n o t D a n ) , a l l w i t h the
Harlan Hookup, t h u s t e s t i f y i n g to its v e r s a t i l i t y .

T h e r e a r e a c o u p l e o f t h i n g s to b e a w a r e o f w i t h t h e Harlan Hookup.
O c c a s i o n a l l y the elastic w i l l s n e a k b e n e a t h y o u r tie o r get c a u g h t o n y o u r
b e l t b u c k l e o r a s h i r t b u t t o n . H o w e v e r , o n c e a w a r e o f the p r o b l e m , y o u
c a n u s u a l l y release it easily. A l s o , a l t h o u g h y o u can c a r r y out n o r m a l
s o c i a l a c t i v i t i e s w i t h it o n , y o u s h o u l d a v o i d h u g g i n g o r p l a c i n g y o u r
a r m a r o u n d s o m e o n e . A f t e r a l l , it's o n e t h i n g to get the e l a s t i c c a u g h t o n
o n e of y o u r b u t t o n s ; i f s a n o t h e r to get it c a u g h t o n s o m e o n e else's.

If y o u n e e d the elastic to be m o r e o u t of the w a y b u t s t i l l w a n t to r e m a i n

h o o k e d u p , here's a n o t h e r i d e a of D a n ' s . L i f t its c e n t e r u p o v e r y o u r h e a d
a n d b e h i n d y o u r n e c k . N o w w i t h the e l a s t i c r u n n i n g a l o n g b o t h a r m s
a n d b e h i n d y o u r n e c k , i f s v i r t u a l l y i m p o s s i b l e to t a n g l e . I n fact, D a n has
set h i s u p l i k e that a n d w o r n a jacket f o r h o u r s w i t h o u t a n y p r o b l e m s .

If y o u c a n ' t s e e m to l o c a t e a n y i n v i s i b l e e l a s t i c , y o u c a n o r d e r D a n ' s
c o m m e r c i a l l y a v a i l a b l e v e r s i o n of Financial Attraction f o r $15 p l u s $1 f o r
s h i p p i n g t h r o u g h T H E M I N O T A U R (the a d d r e s s i s o n t h e l a s t p a g e ) .
W i t h it y o u get a g i m m i c k , a s p o o l o f i n v i s i b l e e l a s t i c to m a k e m o r e
g i m m i c k s , a n d i d e a s for m a n y o t h e r uses of the Harlan Hookup*
Gazzo Macee's
REVERSE INFLATION
D H : H e r e ' s a neat s t u n t that l o o k s i m p o s s i b l e b u t i s a c t u a l l y q u i t e s i m p l e
— just the sort of t h i n g w e ' d e x p e c t f r o m G a z z o . A n d w h a t c o u l d be
more impossible than b l o w i n g u p one of those b a l l o o n a n i m a l type
b a l l o o n s i n r e v e r s e . B y that I d o n ' t m e a n b l o w i n g i t u p s o t h a t i t i n f l a t e s
f r o m the s e a l e d e n d b a c k t o w a r d s t h e n o z z l e e n d . I m e a n y o u a p p a r e n t l y
i n f l a t e t h e b a l l o o n b y b l o w i n g i n t o i t s s e a l e d e n d . If t h i s s o u n d s b i z a r r e
to y o u (as it r i g h t f u l l y s h o u l d ) , just w a i t u n d l y o u d o i t f o r s o m e o n e else.

Y o u ' l l n e e d a 260 t y p e a n i m a l b a l l o o n that y o u c a n i n f l a t e w i t h o u t u s i n g

a p u m p o r b u s t i n g a l u n g . W i t h t h e n o z z l e e n d h e l d b e t w e e n y o u r left
t h u m b a n d index finger a n d the sealed e n d h e l d between y o u r right
t h u m b a n d i n d e x finger, prepare the b a l l o o n b y i n f l a t i n g a s m a l l b u b b l e
n e a r t h e n o z z l e ( F i g u r e 1). S t r e t c h t h e d e s i r e d l o c a t i o n o f t h e b u b b l e
b e t w e e n y o u r h a n d s p r i o r to i n f l a t i n g to h e l p f a c i l i t a t e t h i s t a s k . M a k e
the b u b b l e o p e n l y i n o r d e r to s h o w h o w m o s t p e o p l e b l o w u p a b a l l o o n .

N o w a l l o w t h e a i r to e s c a p e f r o m t h e b a l l o o n a s y o u b r i n g i t s t w o e n d s
t o g e t h e r b y b r i n g i n g y o u r h a n d s t o g e t h e r ( F i g u r e 2). T e l l y o u r s p e c t a t o r s
that y o u a r e g o i n g to s h o w t h e m h o w y o u b l o w u p a b a l l o o n i n r e v e r s e .
D o n ' t m e n t i o n e x a c t l y w h a t y o u m e a n b y t h a t s i n c e y o u i n t e n d to
s u r p r i s e t h e m later. A s y o u p a t t e r , c a s u a l l y e x c h a n g e t h e p o s i t i o n s of t h e
n o z z l e a n d s e a l e d e n d s so t h a t t h e n o z z l e e n d i s n o w h e l d b y y o u r r i g h t
h a n d a n d the sealed e n d i s n o w h e l d b y y o u r left h a n d .

P l a c e the s e a l e d e n d of the b a l l o o n i n t o y o u r m o u t h w i t h o u t l e t t i n g y o u r
s p e c t a t o r s get a g o o d l o o k at i t . T h e y w i l l a s s u m e t h i s i s t h e n o z z l e e n d .
H o l d the real n o z z l e e n d v e r y l o o s e l y w i t h y o u r r i g h t f i n g e r t i p s a n d
t h u m b . P l a c e y o u r left i n d e x f i n g e r a g a i n s t y o u r u p p e r l i p w i t h t h e b a c k s
of y o u r fingers facing o u t . A t the s a m e time, y o u r r i g h t h a n d m o v e s
d o w n w a r d , so that m o s t of the b a l l o o n s h o w s b e t w e e n y o u r h a n d s
( F i g u r e 3). T h i s d o w n w a r d m o t i o n a l s o r o t a t e s t h e n o z z l e e n d b e t w e e n
y o u r r i g h t t h u m b a n d f i n g e r s so i t i s h i d d e n b e h i n d y o u r r i g h t f i n g e r s .

H e r e ' s t h e s n e a k y p a r t . I n s t e a d of b l o w i n g i n t o t h e b a l l o o n ( y o u c a n ' t —
the s e a l e d e n d i s i n y o u r m o u t h ) , b e g i n s u c k i n g i n o n t h e s e a l e d e n d to
f o r m a b u b b l e i n s i d e y o u r m o u t h . T h i s m a y take a little practice, so
h e r e ' s a c o u p l e o f p o i n t e r s to h e l p . D o n ' t h o l d t h e b a l l o o n c l o s e d w i t h
either h a n d ; y o u r hands are there o n l y for cover. A l s o , before s u c k i n g ,
squeeze the e n d of the b a l l o o n f i r m l y a g a i n s t the r o o f of y o u r m o u t h
w i t h y o u r tongue. A s y o u m o v e y o u r t o n g u e b a c k d o w n a w a y f r o m the
r o o f of y o u r m o u t h , the b u b b l e s h o u l d e x p a n d i n y o u r m o u t h .

Once y o u ' v e formed the h i d d e n bubble, squeeze the n o z z l e e n d shut

w i t h y o u r right t h u m b a n d fingers. T h e n squeeze the b u b b l e i n y o u r
m o u t h w i t h y o u r t o n g u e ; t h e b a l l o o n w i l l b e g i n to i n f l a t e n e a r t h e n o z z l e
a b o v e y o u r r i g h t h a n d at t h e p r e p a r e d l o c a t i o n ( F i g u r e 4 , n e x t p a g e ) . It
s h o u l d look like y o u ' r e b l o w i n g a b a l l o o n u p f r o m s u p p o s e d l y the sealed
to the n o z z l e e n d . T h i s i n a n d o f itself i s e n o u g h to i m p r e s s s o m e p e o p l e .

P a u s e w h e n y o u have pressed a l l the a i r o u t of the h i d d e n b u b b l e so it's

no longer a bubble. R e m o v e the sealed e n d f r o m y o u r m o u t h w i t h y o u r
l e f t h a n d t o d i s p l a y i t a n d s a y , " Y o u see, I d i d b l o w i t u p i n r e v e r s e . "
O n c e y o u r spectators h a v e r e a l i z e d the true s i t u a t i o n of the b a l l o o n ,
 s h o w the n o z z l e i n y o u r r i g h t h a n d w i t h o u t r e l e a s i n g the a i r . F i n a l l y ,
r e l e a s e the a i r a n d i n f l a t e the b a l l o o n f u l l y ( t h r o u g h the n o z z l e e n d , of
c o u r s e ) a n d g i v e it a w a y to p r o v e there are n o o t h e r h o l e s i n it.

H o r n i n g i n : T h i s is a great s t u n t to p e r f o r m for the p u b l i c if y o u d o

b a l l o o n a n i m a l s a n d a n e v e n b e t t e r s t u n t to p e r f o r m f o r s o m e o n e w h o
d o e s b a l l o o n a n i m a l s a n d t h i n k s y o u a r e just d o i n g the o l d s e a l e d e n d to
n o z z l e e n d bit. O c c a s i o n a l l y w h e n I p e r f o r m t h i s , I ' l l r e p e a t it, e x c e p t the
s e c o n d t i m e I o p e n l y insert the s e a l e d e n d of a n o t h e r b a l l o o n i n m y
m o u t h a n d q u i c k l y f o r m the h i d d e n b u b b l e b e f o r e g r a b b i n g the n o z z l e
e n d . T h i s f o o l s ' e m a g a i n , b e c a u s e I a m s d l l a b l e to b l o w a b u b b l e , e v e n
t h o u g h this time they s a w m e p u t the sealed e n d i n m y m o u t h . 4

Phil Goldstein's
PRINTS RE: GENT
M L : W h e n P h i l sent m e this effect a c o u p l e o f m o n t h s b a c k , h e p r e f a c e d it
b y w r i t i n g , " I n the b e l i e f that there c a n n e v e r be too m a n y p a c k e t
p r i n t i n g effects, I o f f e r the f o l l o w i n g . " N o w t h e r e m i g h t b e s o m e o f y o u
that b e l i e v e that y o u ' v e a l r e a d y m e t y o u r l i f e t i m e r e q u i r e m e n t o f p a c k e t
p r i n t i n g effects, i n w h i c h case y o u ' v e p r o b a b l y a l r e a d y s k i p p e d a h e a d to
the n e x t effect. H o w e v e r , if y o u are of the s a m e m i n d as P h i l , a n d e v e n if
y o u a r e n ' t , I e n c o u r a g e y o u to p r o c e e d w i t h t h i s q u i c k l e s s o n i n h o w
p l a y i n g c a r d s are " r e a l l y " p r i n t e d .

It r e q u i r e s the f o l l o w i n g f i v e c a r d s : a b l a n k - f a c e d c a r d , a b l a n k - b a c k e d
k i n g o f s p a d e s , a b l a n k - b a c k e d k i n g o f h e a r t s , a n u n g i m m i c k e d k i n g s of
c l u b s , a n d a n u n g i m m i c k e d k i n g o f d i a m o n d s . M a k e s u r e the b a c k of the
b l a n k - f a c e r m a t c h e s the b a c k s of the k i n g of c l u b s a n d the k i n g of
d i a m o n d s . Y o u ' l l a l s o n e e d to be f a m i l i a r w i t h the E l m s l e y c o u n t a n d the
A s c a n i o s p r e a d (see H o r n i n g i n ) .

B e f o r e the start of y o u r p e r f o r m a n c e , a r r a n g e the c a r d s so that t h e y are i n

the f o l l o w i n g o r d e r f r o m the t o p o f the p a c k e t : f a c e - u p k i n g of d i a m o n d s ,
b l a n k - s i d e - u p k i n g of spades, b l a n k - s i d e - u p k i n g of hearts, face-up k i n g
of c l u b s , b l a n k - s i d e - u p b l a n k - f a c e r ( F i g u r e 1). F i g u r e 2 d e p i c t s the o r d e r
o f the c a r d s w i t h the p a c k e t t u r n e d face d o w n .

T o b e g i n , b r i n g o u t the s q u a r e d f a c e - d o w n p a c k e t a n d p e r f o r m an
E l m s l e y c o u n t to d i s p l a y the b a c k s o f f o u r c a r d s . T h e n f l i p t h e p a c k e t
face u p a n d p e r f o r m a n o t h e r E l m s l e y c o u n t to d i s p l a y f o u r b l a n k faces,
o u t j o g g i n g the t h i r d c a r d of the c o u n t (the b l a n k - f a c e r ) s l i g h t l y . A s y o u
c o u n t to s h o w the b a c k s a n d faces e x p l a i n , ' T h e s e a r e r a w p l a y i n g c a r d
stock o b t a i n e d f r o m the factory p r i o r to h a v i n g t h e i r faces p r i n t e d . "

N o w p o s i t i o n the p a c k e t so it i s i n l e f t - h a n d d e a l i n g p o s i t i o n , i f it i s n ' t
a l r e a d y ( F i g u r e 3). C o n t i n u e b y e x t r a c t i n g t h e o u t j o g g e d c a r d ( t h e
b l a n k - f a c e r ) w i t h y o u r r i g h t h a n d a n d g e s t u r i n g w i t h it, a l l o w i n g b o t h
s i d e s of it to be seen. S a y , " Y o u m a y t h i n k the p l a y i n g c a r d f a c t o r i e s u s e
b i g h i g h - t e c h e q u i p m e n t to p r i n t t h e i r c a r d s , b u t i n f a c t i t ' s a m u c h
s i m p l e r process." A s this is said a n d attention is f o c u s e d o n y o u r r i g h t
h a n d ' s c a r d , o b t a i n a left l i t t l e f i n g e r b r e a k b e n e a t h the t o p t w o c a r d s of
the l e f t - h a n d s t o c k . O n e p o s s i b l e w a y to a c c o m p l i s h t h i s w o u l d b e b y
b u c k l i n g the b o t t o m t w o c a r d s o f t h e f o u r c a r d p a c k e t w i t h y o u r l e f t
i n d e x f i n g e r ( F i g u r e 4). W h a t e v e r w a y y o u d o i t , j u s t b e c a r e f u l n o t to
p r e m a t u r e l y e x p o s e the face of a k i n g .
 C o m m e n t , " A l l i t t a k e s i s a m o m e n t o f s e c l u s i o n . . . , " as y o u f l i p y o u r
right h a n d ' s card f a c e - d o w n a n d square o n t o the l e f t - h a n d stock. Pause
for a m o m e n t , t h e n c o n t i n u e , " . . . a n d t h e c a r d s p r i n t t h e m s e l v e s . " T h e n
p e r f o r m a t r i p l e t u r n o v e r ( m a d e easy b y y o u r left l i t t l e f i n g e r b r e a k ) . T h e
k i n g of hearts s h o u l d n o w s h o w as the t o p c a r d of the p a c k e t .

P r o m p t l y e x e c u t e a n A s c a n i o s p r e a d to d i s p l a y t h e f o u r n e w l y - p r i n t e d
k i n g s ( F i g u r e 5). D o n o t release y o u r right h a n d ' s g r i p o n the d o u b l e c a r d
at t h e r i g h t s i d e o f t h e s p r e a d . I n s t e a d , c o n t i n u e b y p u l l i n g it f r o m the
r i g h t s i d e o f t h e s p r e a d . A t the s a m e time, a d j u s t the p o s i t i o n o f the k i n g
o f hearts w i t h y o u r left t h u m b , so that its b l a n k b a c k w i l l b e o b s c u r e d b y
the o t h e r c a r d s i n y o u r left h a n d a n d y o u r left f i n g e r s . T h e n d e p o s i t the
d o u b l e c a r d as o n e o n t o p of the k i n g o f h e a r t s , j u s t u n d e r t h e tip of y o u r
left t h u m b ( F i g u r e 6), a n d release y o u r right h a n d ' s g r i p o n it.

C o n c l u d e b y s a y i n g , " A n d t h a f s h o w it's d o n e ! " A s i f to e m p h a s i z e y o u r

s t a t e m e n t , at t h e s a m e t i m e r a i s e y o u r l e f t h a n d s l i g h t l y , f l a s h i n g t h e
b a c k o f t h e s p r e a d p a c k e t i n the p r o c e s s . B e c a u s e t h e b l a n k b a c k o f the
k i n g of hearts i s h i d d e n b e h i n d the o t h e r c a r d s a n d y o u r left f i n g e r s , o n l y
b a c k s w i l l be seen. A s a r e s u l t , y o u r s p e c t a t o r s w i l l be left w i t h the
l a s t i n g i m p r e s s i o n that t h e y h a v e seen b o t h t h e b a c k s a n d f r o n t s o f a l l the
c a r d s , t h u s l e a d i n g t h e m to b e l i e v e t h a t y o u h a v e s o m e h o w p r i n t e d a l l
the b l a n k surfaces. N o w c a s u a l l y s q u a r e t h e p a c k e t a n d p u t it a w a y .

H o r n i n g i n : T h e r e y o u h a v e it — a q u i c k , no f r i l l s , p r i n t i n g effect.
H o w e v e r , t h a t ' s e x a c t l y the r e a s o n I t h i n k s p e c t a t o r s f i n d it so s t r i k i n g ;
the p r i n t i n g of a l l f o u r k i n g s at o n c e h a p p e n s so fast that t h e y are c a u g h t
c o m p l e t e l y off their g u a r d .

A s for the E l m s l e y c o u n t , d o n ' t y o u t h i n k i t ' s a b o u t t i m e y o u b e c a m e

f a m i l i a r w i t h it? If so, I o n c e a g a i n s u g g e s t , as I h a v e i n the p a s t , that y o u
t u r n to p a g e 41 o f Jerry M e n t z e r ' s b o o k Counts, Cuts, Moves and Subtlety.
By f o l l o w i n g Jerry's instructions, y o u w i l l be E l m s l e y c o u n t i n g like an
e x p e r t i n n o time. N o t e h i s " A d d e d C o m m e n t " o n p a g e 45 f o r c o u n t i n g
f i v e c a r d s as f o u r , s i n c e that i s w h a t y o u d o i n t h i s effect. C o i n c i d e n t a l l y ,
Jerry can also h a v e y o u A s c a n i o s p r e a d i n g l i k e a p r o b y f o l l o w i n g his
i n s t r u c t i o n s o n p a g e 70 of that v e r y s a m e b o o k . W o w ! T h a t ' s t w o u s e f u l
i t e m s o u t of o n e m a g i c b o o k . W h a t m o r e c o u l d y o u a s k f o r ? *

Harvey Pnsftnthni's =
BANGLE TANGLE
D H : F r o m the past, s o m e of y o u m a y r e m e m b e r H a r v e y f o r h i s C l o s e - U p
F o l i o s i n The Pallbearers Review. M o r e r e c e n t l y , s o m e o f y o u m a y r e c a l l
h i m f o r h i s o n e m a n i s s u e of The Trapdoor. I n t h e f u t u r e , y o u c a n get to
k n o w h i m through his u p c o m i n g book f r o m K a u f m a n a n d Greenberg.
H o w e v e r , for the present, y o u c a n get a c q u a i n t e d w i t h h i m right h e r e .

M a g i c a l l y s p e a k i n g , H a r v e y ' s been a r o u n d a w h i l e a n d has been

influenced by m a n y magicians, a m o n g them M i l b o u r n e Christopher. A s
a youngster, H a r v e y recalls b e i n g h o m e sick f r o m school (yeah, right)
a n d b y c h a n c e s e e i n g M r . C h r i s t o p h e r p e r f o r m a series o f r o p e effects o n
t e l e v i s i o n . In o n e o f those, h e h e l d a r o p e b e t w e e n h i s h a n d s , t w i r l e d its
e n d s a r o u n d a n d created t w o f i g u r e e i g h t k n o t s i n the r o p e ( F i g u r e 1).

H a r v e y t h o u g h t t h i s w a s p r e t t y d a r n c l e v e r , a n d s o h e t r i e d to r e c r e a t e
 M r . C h r i s t o p h e r ' s t r i c k . N o w H a r v e y d o e s n ' t k n o w f o r s u r e w h e t h e r the
m e t h o d he c a m e u p w i t h i s the s a m e as M r . C h r i s t o p h e r ' s , b u t a l o n g the
w a y h e d i s c o v e r e d that i f y o u h e l d a b r a c e l e t s i z e d r i n g i n e a c h h a n d as
y o u m a d e the k n o t s , t h e r i n g s e n d e d u p d e d o n t h e r o p e as w e l l . A n d
thus this m a g i c a l - l o o k i n g flourish u s i n g t w o rings a n d a rope w a s b o r n .

T o p e r f o r m it y o u ' l l n e e d t w o r i n g s , a b o u t t w o a n d a half i n c h e s i n
d i a m e t e r e a c h , a n d a f o u r f o o t l e n g t h o f r o p e . T o get r e a d y , f i r s t t h r e a d
the r i n g s o n t o the r o p e a n d p l a c e o n e r i n g o n the p a l m o f e a c h h a n d . T h e
r o p e s h o u l d g o u n d e r the r i n g s b y y o u r l i t t l e f i n g e r s a n d o v e r the r i n g s
b y y o u r index fingers. Bend i n y o u r m i d d l e , r i n g , a n d little fingers a n d
p r e s s a g a i n s t the r i n g to h o l d it i n p l a c e . A l s o b e n d i n y o u r i n d e x f i n g e r s
so that t h e y rest l i g h t l y a g a i n s t the r o p e ( F i g u r e 2). T h e r o p e s h o u l d be
d r a p e d o v e r the s i d e s o f y o u r i n d e x f i n g e r s f o r a b o u t a foot o r so.

P i n c h the r o p e b e t w e e n y o u r t h u m b s a n d the s i d e s o f the s e c o n d joints of

y o u r i n d e x f i n g e r s . T h e n t u r n b o t h h a n d s i n w a r d so t h a t the b a c k s o f
y o u r f i n g e r s face e a c h other. W i t h the s e c t i o n of r o p e b e t w e e n y o u r
h a n d s h e l d straight b u t not t a u g h t ( F i g u r e 3), y o u ' r e r e a d y to p e r f o r m .

T o b e g i n , start r h y t h m i c a l l y s w a y i n g the e n d s o f the r o p e b a c k a n d f o r t h

to g e t t h e m m o v i n g i n u n i s o n a n d to r e l a x y o u r a r m s . N o w h e r e ' s the
m o v e . In one continuous circular m o t i o n , s w i n g b o t h e n d s a w a y f r o m
y o u , u p w a r d , a n d t h e n b a c k d o w n t o w a r d y o u so that t h e y g o b e t w e e n
y o u a n d the s e c t i o n of r o p e r u n n i n g b e t w e e n y o u r h a n d s ( F i g u r e 4).

Still circling, both ends continue m o v i n g f o r w a r d beneath y o u r hands

a n d t h e n u p a n d o v e r t h e m . A s t h i s h a p p e n s , s t r a i g h t e n the m i d d l e a n d
r i n g fingers of each h a n d . T h e e n d s s h o u l d l a n d o n t o p of these fingers.
W i t h o u t p a u s i n g , e x t e n d the i n d e x a n d l i t t l e f i n g e r s o f e a c h h a n d to c l i p
the e n d s b e t w e e n y o u r i n d e x a n d m i d d l e f i n g e r s a n d a l s o b e t w e e n y o u r
r i n g a n d l i t t l e f i n g e r s ( F i g u r e 5). T o e n d , i m m e d i a t e l y m o v e y o u r h a n d s
a p a r t , release y o u r g r i p o n the rings, a n d a d j u s t y o u r g r i p o n the e n d s so
that t h e y are h e l d o n l y b e t w e e n y o u r i n d e x a n d m i d d l e f i n g e r s . E a c h r i n g
w i l l be n o w be d i s p l a y e d c a u g h t i n a f i g u r e e i g h t k n o t ( F i g u r e 6).

H o r n i n g i n : H a r v e y uses t h i s f l o u r i s h to e n d h i s r o u t i n e u s i n g t w o r i n g s
a n d a r o p e . It l o o k s p r e t t y a n d e n d s w i t h a d i s p l a y t h a t l e a v e s y o u i n
a p p l a u s e p o s i t i o n . A t f i r s t y o u m i g h t h a v e a l i t t l e d i f f i c u l t y g e t t i n g the
h a n g o f it. It d o e s r e q u i r e a b i t o f a k n a c k , b u t o n c e y o u get it, i t ' s a l m o s t
a u t o m a t i c . A n d h e r e ' s a n i d e a . W h y n o t f i r s t h a v e t w o r i n g - l i k e objects
(maybe a previously vanished b o r r o w e d watch a n d a w e d d i n g ring)
h i d d e n i n y o u r h a n d s a n d secretly t h r e a d e d o n a r o p e a n d t h e n p e r f o r m
t h i s f l o u r i s h ? I t h i n k that w o u l d m a k e for a v e r y f l a s h y p r o d u c t i o n . 4

Mac King's
STICK IT IN YOUR EAR
M L : If y o u ' v e n e v e r h e a r d o f M a c K i n g , y o u p r o b a b l y d o n ' t f o l l o w the
c o m e d y c l u b c i r c u i t . R e c e n t l y M a c w a s h e a d l i n i n g at T h e C l e v e l a n d
I m p r o v , so I w a s able to c a t c h h i s act w i t h m y w i f e (I g u e s s t h e y t h o u g h t
I w a s o u t of t o w n ) . W h a t I m e a n t to say w a s that m y w i f e a n d I w e r e able
to c a t c h h i s act. S h e t h i n k s M a c i s the f u n n i e s t c o m e d y m a g i c i a n s h e ' s
e v e r s e e n . O f c o u r s e , h e ' s a l s o p r o b a b l y t h e o n l y c o m e d y m a g i c i a n she
h a s e v e r s e e n . B u t s e r i o u s l y f o l k s , m y w i f e r e a l l y d i d e n j o y M a c ' s act.
A f t e r a l l , h e ' s c o m e a l o n g w a y s i n c e h i s e a r l y d a y s i n m a g i c as p a r t o f
' T h e M a c & Lance S h o w , " i n w h i c h he teamed u p w i t h a n obscure
m a g i c i a n b y the n a m e of L a n c e B u r t o n . In a b r i l l i a n t career m o v e , M a c
s m a r t l y left that act f o r a s o l o career, w h i c h j u s t r e c e n t i y p e a k e d w i t h a n
a p p e a r a n c e at T o m b s t o n e J u n c t i o n i n C u m b e r l a n d F a l l s , K e n t u c k y .

I n retrospect, M a c feels s o m e w h a t r e m o r s e f u l that h e h a s s k y r o c k e t e d to

s t a r d o m , w h i l e L a n c e h a s f l o u n d e r e d a r o u n d L a s V e g a s t r y i n g to e a r n a
l i v i n g . B u t hey — t h a f s s h o w business! N o w i n a n o t h e r b r i l l i a n t career
m o v e , M a c offers the r e a d e r s o f T H E M I N O T A U R the f o l l o w i n g effect.

F r o m y o u r audience's perspective, here's w h a t happens. Y o u b o r r o w a

b i l l a n d a c i g a r e t t e . T e a r i n g o f f a c o r n e r o f t h e b i l l a n d g i v i n g it to i f s
o w n e r as a r e c e i p t , y o u a n n o u n c e t h a t y o u w i l l t a p t h e b i l l t h r e e t i m e s
w i t h t h e c i g a r e t t e . Y o u s a y t h a t t h e c i g a r e t t e w i l l act a s a m a g i c w a n d ,
a n d that o n the t h i r d tap the m o n e y w i l l d i s a p p e a r . H o w e v e r , o n the
t h i r d t a p the cigarette v a n i s h e s i n s t e a d .

Y o u t h e n e x p o s e the v a n i s h b y s h o w i n g that y o u left t h e c i g a r e t t e b e h i n d

y o u r ear d u r i n g the t h i r d t a p p i n g m o t i o n . S o y o u p r o c e e d to r e m o v e the
cigarette f r o m y o u r ear a n d t a p the b i l l o n c e a g a i n . T h i s time y o u s u c c e e d
i n c a u s i n g the b i l l to v a n i s h , b u t w h e r e h a s i t g o n e ? T o a n s w e r that, the
cigarette i s t o r n o p e n b y the b i l l ' s o w n e r a n d i n s i d e i s f o u n d t h e m i s s i n g
b i l l , w h o s e m i s s i n g corner matches u p exactly w i t h the o w n e r ' s receipt.

A s s o m e of y o u m i g h t h a v e s u r m i s e d , t h i s effect i s s i m p l y a c o m b i n a t i o n
of H a r r y C r a w f o r d ' s Ear It Is f r o m The Tarbell Course in Magic, Volume 7,
a n d the b a s i c b i l l i n cigarette t r i c k . I n a d v a n c e o f p e r f o r m i n g i t , y o u w i l l
n e e d to p r e p a r e a c i g a r e t t e . T o d o so, f i r s t s q u e e z e a l l o f t h e t o b a c c o o u t
of a f a i r l y t y p i c a l - l o o k i n g , p o p u l a r b r a n d of cigarette. T h i s is e a s i l y
a c c o m p l i s h e d b y r o l l i n g the tobacco p o r t i o n of the cigarette b e t w e e n
y o u r t h u m b a n d f i n g e r s . B e c a r e f u l to k e e p t h e p a p e r e x t e r i o r i n t a c t , so
that y o u e n d u p w i t h a f i l t e r - t i p p e d p a p e r t u b e .

N o w tear a s m a l l c o r n e r f r o m a d o l l a r b i l l ( F i g u r e 1, p r e v i o u s p a g e ) a n d
s a v e t h i s c o m e r . T h e n s t a r t i n g at o n e o f the s h o r t e d g e s o f the b i l l , r o l l u p
the d o l l a r as tight as p o s s i b l e , so that it w i l l f i t i n t o t h e e m p t y p a p e r t u b e
of the cigarette ( F i g u r e 2). S h o v e a b i t o f t o b a c c o b a c k i n t o t h e e n d of the
c i g a r e t t e to c o v e r t h e e n d o f t h e r o l l e d u p b i l l i n s i d e t h e c i g a r e t t e . P l a c e
t h i s p r e p a r e d cigarette i n t o y o u r left o u t s i d e jacket p o c k e t a l o n g w i t h the
m a t c h i n g c o r n e r t o r n f r o m the d o l l a r , a n d y o u a r e set to p e r f o r m .

Just before b e g i n n i n g the r o u t i n e , c a s u a l l y r e a c h i n t o y o u r left o u t s i d e

j a c k e t p o c k e t , get the p r e p a r e d c i g a r e t t e , h o l d it c o n c e a l e d i n t h e c u r l e d
f i n g e r s of y o u r l e f t h a n d , a n d t a k e y o u r h a n d o u t o f y o u r p o c k e t . N o w
b e g i n b y a s k i n g , " D o e s a n y o n e h a v e a p a c k of cigarettes I c o u l d
b o r r o w ? " C o n t r i v e to b o r r o w a p a c k that c l o s e l y m a t c h e s y o u r p r e p a r e d
cigarette, i.e., s a m e l e n g t h a n d f i l t e r c o l o r . P l a c e t h e b o r r o w e d p a c k o v e r
y o u r left h a n d ' s c o n c e a l e d cigarette ( F i g u r e 3).

P r e t e n d to s h a k e a c i g a r e t t e u p o u t o f t h e p a c k b y w i t h d r a w i n g y o u r
p r e p a r e d cigarette f r o m u n d e r t h e p a c k w i t h y o u r r i g h t h a n d ( F i g u r e 4).
P l a c e t h e p r e p a r e d c i g a r e t t e i n y o u r m o u t h a n d t h e p a c k i n t o y o u r left
o u t s i d e jacket p o c k e t . It s h o u l d a p p e a r as i f y o u m e r e l y b o r r o w e d a p a c k
o f cigarettes, s h o o k o n e cigarette o u t o f i t , a n d p l a c e d it i n y o u r m o u t h .

A f t e r d e p o s i t i n g the p a c k i n t o y o u r jacket p o c k e t , y o u r left h a n d e m e r g e s

w i t h the t o r n c o m e r o f the d o l l a r c o n c e a l e d i n i t s f i n g e r s . T h e n a c t i n g as
if y o u just r e m e m b e r e d that it w a s n ' t y o u r p a c k o f c i g a r e t t e s , r e a c h b a c k
i n t o y o u r p o c k e t to r e t r i e v e t h e p a c k a n d g i v e i t b a c k t o i t s r i g h t f u l
o w n e r . T h e p u r p o s e o f r e t r i e v i n g the t o r n c o r n e r t h e f i r s t time y o u r h a n d
g o e s i n t o y o u r p o c k e t i s to c o v e r a n y f u m b l i n g t h a t m i g h t o c c u r as y o u
feel a r o u n d f o r the c o r n e r . T h e s m a l l l a u g h y o u g e t w h e n y o u p o c k e t the
p a c k of b o r r o w e d cigarettes h e l p s c o v e r a n y i n i t i a l g r o p i n g .

N o w a s k to b o r r o w a d o l l a r b i l l . A s y o u t a k e the d o l l a r f r o m y o u r
spectator, p l a c e it i n y o u r left h a n d a n d m a n e u v e r t h e t o r n c o r n e r so that
it i s h i d d e n f r o m y o u r s p e c t a t o r ' s v i e w o n y o u r s i d e o f t h e b i l l b e t w e e n
y o u r left t h u m b a n d the b i l l ( F i g u r e 5, p r e v i o u s p a g e ) . W i t h t h e h e l p o f
y o u r r i g h t h a n d , a d j u s t y o u r g r i p o n t h e b i l l a n d t h e c o r n e r so t h a t t h e y
are h e l d b e t w e e n the t i p s of y o u r left t h u m b a n d i n d e x a n d m i d d l e
fingers. C a s u a l l y o p e n y o u r r i g h t h a n d a n d y o u r left r i n g a n d little
f i n g e r s so y o u r h a n d s c a n be seen e m p t y ( F i g u r e 6), b u t d o n ' t m a k e a b i g
d e a l o u t o f it. T h e n r e a d j u s t y o u r g r i p o n the b i l l a n d t h e c o r n e r a n d tear
o f f a p i e c e of the d o l l a r that c l o s e l y m a t c h e s the c o n c e a l e d d u p l i c a t e
c o r n e r ( F i g u r e 7).

A t t h i s p o i n t y o u m u s t s w i t c h the t w o t o r n c o r n e r s . H e r e ' s a n e a s y a n d
e f f e c t i v e w a y to d o j u s t that. A f t e r t e a r i n g o f f t h e c o r n e r o f t h e b o r r o w e d
d o l l a r , y o u r right h a n d h o l d s u p that c o r n e r a n d d i s p l a y s it b y h o l d i n g it
b y its e d g e b e t w e e n the t i p s of y o u r r i g h t t h u m b a n d i n d e x a n d m i d d l e
f i n g e r s ( F i g u r e 8). T h e n say s o m e t h i n g s n a p p y l i k e , " I f s o k a y . "

T o c o n t i n u e , y o u r r i g h t h a n d t a k e s t h e d o l l a r f r o m y o u r l e f t h a n d . In
d o i n g so, y o u r r i g h t h a n d ' s c o r n e r i s p l a c e d b e h i n d the b i l l ( F i g u r e 9) a n d
y o u r l e f t h a n d ' s c o r n e r i s r e t a i n e d b y its e d g e b e t w e e n t h e t i p s o f y o u r
l e f t t h u m b a n d i n d e x a n d m i d d l e f i n g e r s ( F i g u r e 10). T h u s , y o u r l e f t
h a n d i s l e f t d i s p l a y i n g w h a t i s a p p a r e n t l y t h e s a m e c o r n e r p i e c e of t h e
borrowed dollar.

H o l d y o u r left h a n d ' s c o r n e r u p a b i t f o r e m p h a s i s as y o u s a y , " T h i s w a y

y o u ' l l k n o w i f s r e a l l y y o u r d o l l a r . . . " B r i n g the d o l l a r a n d the c o r n e r a b i t
c l o s e r t o g e t h e r as i f f i t t i n g t h e c o r n e r b a c k i n t o p l a c e ( F i g u r e 11, n e x t
p a g e ) a n d c o n t i n u e , " . . . b e c a u s e the p i e c e w i l l fit b a c k e x a c t l y . " T r u s t m e ;
if y o u ' v e m a d e t h e t w o t e a r s e v e n r e m o t e l y s i m i l a r , n o o n e w i l l n o t i c e
that this corner d o e s n ' t fit exactly. N o w h a n d y o u r left h a n d ' s corner
( w h i c h m a t c h e s the b i l l i n the cigarette) to the o w n e r of the b i l l .

T h e s w i t c h is r e a l l y q u i t e e a s y . Just time the a c t i o n s to y o u r w o r d s , a n d it

w i l l b e d e c e p t i v e . M a c f e e l s t h a t t h i s i s o n e o f t h e b i g k e y s to m a k i n g
g o o d m a g i c . If y o u c a n time t h e s e c r e t m o v e s w i t h w o r d s a n d a c t i o n s
that s e e m l o g i c a l , there w i l l be n o telltale " f i s h y s t u f f " to b e seen.

P r o c e e d b y f o l d i n g the b i l l i n t o e i g h t h s , k e e p i n g t h e o t h e r c o r n e r h i d d e n
inside. Y o u s h o u l d w i n d u p w i t h a packet a p p r o x i m a t e l y one a n d a half
i n c h e s s q u a r e ( F i g u r e 12, n e x t p a g e ) . B e c a u s e t h e c o r n e r p i e c e i s l o c k e d
i n s i d e the f o l d e d d o l l a r , y o u c a n let b o t h y o u r h a n d s b e seen e m p t y .

T h i s is a n e x a m p l e of one of the little t h i n g s that M a c b e l i e v e s h e l p s

i m p r o v e a t r i c k ' s i m p a c t . It i s a l m o s t a l w a y s b e t t e r to ' l e t " s o m e t h i n g
h a p p e n t h a n it is to " m a k e " s o m e t h i n g h a p p e n . U n l i k e s o m e m a g i c i a n s ,
M a c d o e s n ' t b e l i e v e that h i s a u d i e n c e s a r e s t u p i d . H e f e e l s t h a t i f y o u
" l e f y o u r h a n d s b e seen c l e a r l y e m p t y , p e o p l e w i l l n o t i c e that fact. Y o u
d o n ' t h a v e to " m a k e " a b i g d e a l o u t o f i t .

N o w d i s p l a y the f o l d e d b i l l i n y o u r p a l m u p left h a n d . G r i p t h e c i g a r e t t e
b y t h e e n d o p p o s i t e t h e f i l t e r w i t h y o u r r i g h t h a n d as i f i t w e r e a d a r t
 y o u w e r e a b o u t to t h r o w . T u r n s l i g h t l y to y o u r r i g h t a n d h o l d y o u r left
h a n d w i t h the f o l d e d b i l l o n it o u t i n f r o n t o f y o u . A n n o u n c e t h a t y o u
w i l l tap the b i l l three times, a n d that o n the t h i r d t a p the b i l l w i l l v a n i s h .

A s if p r e p a r i n g to t h r o w that d a r t , r a i s e the c i g a r e t t e u p e v e n w i t h y o u r
r i g h t ear. T h e n b r i n g the c i g a r e t t e d o w n ( F i g u r e 13) a n d t a p the b i l l w i t h
the s i d e of the filter as y o u c o u n t , " O n e . " R e p e a t t h e s e a c t i o n s c o u n t i n g ,
" T w o . " T h e n r a i s e the c i g a r e t t e to y o u r r i g h t ear a t h i r d t i m e i n
p r e p a r a t i o n for the c o u n t of three. H o w e v e r , t h i s t i m e s l i d e the c i g a r e t t e
b e h i n d y o u r right ear a n d l e a v e it t h e r e . T h e n w i t h o u t h e s i t a t i o n , s w i n g
y o u r r i g h t h a n d d o w n c o u n t i n g , " T h r e e . " T h e t h i r d t a p s h o u l d l o o k the
s a m e as the first t w o . T h e effect y o u are s t r i v i n g to c o n v e y i s t h a t i n s t e a d
of the b i l l v a n i s h i n g o n the t h i r d t a p , the c i g a r e t t e d i s a p p e a r e d .

A f t e r the v a n i s h of the c i g a r e t t e h a s r e g i s t e r e d , p u l l b a c k b o t h of y o u r
e l b o w s , t h u s b r i n g i n g y o u r h a n d s c l o s e r to the t o p s o f y o u r j a c k e t
p o c k e t s ( F i g u r e 14). It s h o u l d l o o k as i f y o u are l o o k i n g f o r the c i g a r e t t e .
C o n t i n u i n g to l o o k f o r i t , y o u n o w t u r n to y o u r l e f t . A s y o u t u r n , it is a
s i m p l e m a t t e r to s e c r e t l y d e p o s i t t h e f o l d e d b i l l i n t o y o u r l e f t j a c k e t
p o c k e t . T h i s is a m p l y c o v e r e d b y s u d d e n l y " n o t i c i n g " t h a t the cigarette is
b e h i n d y o u r ear, t h u s d i r e c t i n g a t t e n t i o n u p a n d a w a y f r o m y o u r h a n d s .

T h e r e a s o n f o r b r i n g i n g y o u r e l b o w s b a c k f i r s t a n d t h e n t u r n i n g to the
left is b e c a u s e if y o u t u r n e d first a n d t h e n b r o u g h t y o u r left h a n d b a c k to
p u t the b i l l i n y o u r p o c k e t , y o u r left e l b o w w o u l d s u d d e n l y c o m e i n t o
v i e w b e h i n d y o u r b o d y — a v i s u a l clue that s o m e t h i n g fishy w a s
h a p p e n i n g . By b r i n g i n g y o u r e l b o w s b a c k first, y o u r a u d i e n c e doesn't
see a n y u n n e c e s s a r y a r m m o t i o n as y o u d e p o s i t the b i l l i n y o u r p o c k e t .

R e m o v e t h e c i g a r e t t e f r o m y o u r e a r a n d h o l d i t o p p o s i t e t h e f i l t e r as
before. K e e p y o u r left h a n d c u p p e d a b i t as if it w e r e s t i l l h o l d i n g the b i l l .
Y o u d o n ' t w a n t y o u r s p e c t a t o r s to k n o w t h a t i t ' s a l r e a d y g o n e . S a y ,
" L e t ' s s t a r t a g a i n . " T h e n as y o u t u r n a n d f a c e y o u r a u d i e n c e , t a p y o u r
c u p p e d left h a n d w i t h the c i g a r e t t e as y o u c o u n t , " T h r e e . " O n c e t a p p e d ,
o p e n y o u r left h a n d o u t flat to s h o w t h a t t h i s time the b i l l h a s v a n i s h e d .
T h e i m p r e s s i o n y o u w a n t to c o n v e y is t h a t the b i l l v a n i s h e d at the v e r y
i n s t a n t y o u t a p p e d it. A l l that r e m a i n s to b r i n g t h i s effect to its s u c c e s s f u l
c o n c l u s i o n i s to h a n d the c i g a r e t t e to t h e b i l l ' s o w n e r a n d to h a v e h i m
tear i t o p e n , r e m o v e the b i l l , a n d v e r i f y t h a t t h e t o r n c o r n e r r e c e i p t h e
h o l d s m a t c h e s the b i l l exactly.

H o r n i n g i n : T h i s is c e r t a i n l y o n e of the easier v e r s i o n s of the b i l l i n

cigarette t r i c k . Y e t I h a v e f o u n d it to b e just as, if n o t m o r e , e f f e c t i v e t h a n
s o m e of the m o r e c o m p l i c a t e d m e t h o d s t h a t a b o u n d . I n f a c t , I t h i n k it
w o u l d be a n u n d e r s t a t e m e n t to say that M a c ' s a d a p t a t i o n of M r .
C r a w f o r d ' s trick m a k e s it a m o r e i n t e r e s t i n g o n e . H i s r o u t i n i n g a n d
a t t e n t i o n to d e t a i l h a v e t a k e n it to a n e w p l a t e a u .

If y o u l i k e this trick as m u c h as I d o , y o u m a y w a n t to p r e p a r e a b u n c h of
c i g a r e t t e s at o n e s i t t i n g . If t h a t ' s t h e c a s e , M a c s u g g e s t s y o u s e a l e a c h
l o a d e d cigarette a n d c o r r e s p o n d i n g t o r n corner into a separate envelope.
Otherwise, y o u w i l l surely m i x them u p .

F i n a l l y , y o u m a y t h i n k that I m a d e u p the c o n n e c t i o n b e t w e e n M a c a n d
L a n c e B u r t o n , but n o t h i n g c o u l d be further f r o m the t r u t h . M a c a f f i r m s
t h a t t h e r e r e a l l y w a s s u c h a t h i n g as ' T h e M a c a n d L a n c e S h o w , " a n d
14 t h a t h e a n d L a n c e a r e g o o d f r i e n d s . I n fact, M a c c o u l d n ' t b e h a p p i e r to
see h i s b u d d y m a k e it b i g w h i l e l e a v i n g h i m to l a n g u i s h i n the d u s t . 4
 FROM THE LABYRINTH
D H : I h a v e a c o n f e s s i o n to m a k e . I l i k e m y a g e n t . I t h i n k h e d o e s a p r e t t y
g o o d j o b . N o w i f the h a i r o n t h e b a c k o f y o u r n e c k i s s t a n d i n g o n e n d ,
and you're experiencing a spine-tingling shudder r u n n i n g d o w n your
THE MINOTAUR
back, then y o u probably don't share m y sentiments. Instead, y o u ' v e
"Half Bull, Half Magic" p r o b a b l y e i t h e r h a d the d u b i o u s h o n o r o f w o r k i n g w i t h a n a g e n t b e f o r e ,
Marv Leventhal or have heard a horror story or t w o about someone w h o has.
Editor-in-Chief
C o m e to t h i n k o f i t , a l m o s t n o o n e I ' v e t a l k e d to i n s h o w b u s i n e s s h a s
Dan Harlan
h a d a g o o d t h i n g to say a b o u t t h e i r a g e n t . In fact, w h e n I w a s v e r y
Creative G e n i u s & Illustrator
y o u n g , an actor I once met t o l d m e a fable that c a p t u r e d h i s feelings
a b o u t agents. I ' l l r e c o u n t it f o r y o u h e r e as best as I c a n r e c a l l i t .
S u b s c r i p t i o n s : T H E M I N O T A U R is
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a year, whichever comes first (more often O n e d a y a b l i n d rabbit w a s h o p p i n g t h r o u g h the w o o d s , m i n d i n g h i s
if we feel u p to it). S i n g l e issues are $5. o w n business, w h e n s u d d e n l y he heard a voice say, " H e y rabbit, come
Y o u can save y o u r s e l f a c o u p l e of bucks o v e r h e r e . " T h e v o i c e b e l o n g e d to a h u n g r y s n a k e c o i l e d a r o u n d a t r e e
b y subscribing. A one year s u b s c r i p t i o n b r a n c h o v e r h e a d . T h e r a b b i t c o u l d n ' t see the s n a k e , so h e s a i d , " W h o ' s
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your check or money order i n U . S . funds s l o w l y s l i t h e r e d d o w n t h e tree, t h o u g h t q u i c k l y a n d r e p l i e d , "I a m a n
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THE MINOTAUR
s t r o n g a n d a g i l e , y o u m a k e it l o o k e a s y . "
P . O . B o x 470025
B r o a d v i e w H t s . , O H 44147-0025
T h e snake i n c h e d his w a y across the b r a n c h a n d started m o v i n g d o w n
the t r u n k as h e c o n t i n u e d , " I n fact, M r . R a b b i t , I ' d l i k e to get a better l o o k
Submissions: Your editorial
at y o u r h o p p i n g t e c h n i q u e . If y o u w o u l d k i n d l y h o p o v e r h e r e to m e , I ' l l
s u b m i s s i o n s ( t r i c k s , b i t s of b u s i n e s s ,
essays, c o m m e n t s , anecdotes, fan m a i l , g i v e y o u a f r e s h , tasty c a r r o t . " T h e r a b b i t , s e n s i n g h e w a s b e i n g t r i c k e d ,
etc., a n d m a g i c a l r a m b l i n g s i n general) s h o u t e d to the s n a k e , " Y o u c a n ' t f o o l m e . I ' m n o t c o m i n g a n y w h e r e n e a r
are not o n l y welcome, but encouraged i n y o u . " H e t h e n t u r n e d a n d b e g a n to h o p a w a y b u t a d d e d , 1 k n o w w h o
order to assure the future v i a b i l i t y of this y o u are. Y o u ' r e a n a g e n t ! "
fine p u b l i c a t i o n . Y o u r s u b m i s s i o n s w i l l
be returned if a self-addressed, stamped I h o p e y o u l i k e d that l i t t l e fable, b u t if n o t , p e r h a p s y o u ' l l e n j o y t h i s s t o r y
envelope is included. M a r v t o l d m e a b o u t a n i n c i d e n t t h a t h a p p e n e d to a m u t u a l f r i e n d o f
o u r s . It s e e m s o u r m a g i c i a n f r i e n d w a s l o o k i n g f o r s o m e t h i n g f u n to d o
P e r m i s s i o n s : N o part of this publication
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may be r e p r o d u c e d , i n any f o r m , b y any
e n t e r t a i n m e n t s e c t i o n o f the n e w s p a p e r , h e n o t i c e d t h a t a m a g i c i a n w a s
m e a n s , be it e l e c t r o n i c , m e c h a n i c a l ,
a p p e a r i n g at a l o c a l h o t e l the n e x t e v e n i n g .
p h o t o c o p y i n g , o r even a p e n c i l w i t h o u t
the written permission of D a n and M a r v .
In a d d i t i o n , t h e m a n u f a c t u r i n g a n d O u r f r i e n d c o u l d n ' t p a s s b y t h i s o p p o r t u n i t y to w a t c h a f e l l o w c o n j u r o r
commercial rights for all items contained p r a c t i c e h i s craft, so h e p h o n e d the h o t e l to i n q u i r e a b o u t the n a m e of the
herein are reserved b y their contributors p e r f o r m e r , just to see i f h e r e c o g n i z e d it. M u c h to h i s s u r p r i s e , the n a m e
and T H E M I N O T A U R . w a s v e r y f a m i l i a r — i t w a s h i s o w n ! H e w a s b o o k e d to p e r f o r m a n d
d i d n ' t e v e n k n o w it. H e q u i c k l y c a l l e d h i s a g e n t a n d a s k e d h i m i f h e h a d
A d v e r t i s i n g : W r i t e to T H E M I N O T A U R a n y t h i n g to d o w i t h i t , to w h i c h h i s a g e n t s i m p l y r e p l i e d , " O h , y e a h . I
for a d v e r t i s i n g i n f o r m a t i o n . Please be b o o k e d that f o r y o u m o n t h s a g o . D i d n ' t I t e l l y o u ? "
sure to i n c l u d e a t e l e p h o n e n u m b e r
where y o u can be reached.
F r o m m y o w n e x p e r i e n c e s a n d the s t o r i e s I've b e e n t o l d , I ' v e c o m e to the
c o n c l u s i o n that there are b o t h g o o d a n d b a d a g e n t s . A b a d a g e n t w i l l get
THE MINOTAUR
y o u a few s h o w s for very little m o n e y i n remote locations, p e r f o r m i n g
C o p y r i g h t 1992
b y M a r v i n J. Leventhal for obscure g r o u p s that h a v e n o a p p r e c i a t i o n for talent. B y contrast, a
& Daniel D . H a r l a n g o o d a g e n t gets y o u m o r e o f t h o s e s a m e k i n d s of s h o w s , b u t o c c a s i o n a l l y
A l l Rights Reserved he w i l l also come t h r o u g h w i t h a higher caliber s h o w . T h a f s w h a t m y
Printed i n the U . S . A . agent does, w h i c h is w h y I think he's a g o o d agent. O h , I almost forgot
3/92-15 — fables are s u p p o s e d to h a v e m o r a l s . T h e m o r a l o f t h i s o n e i s , "If y o u ' r e
a b l i n d rabbit, keep h o p p i n g n o matter h o w m a n y carrots y o u ' r e offered,
a n d if y o u ' r e g o i n g to a m a g i c s h o w , p h o n e f i r s t . " ^
 THE
INHTAUR
!
M1LF BULL, H A L F MAMIE"
© C o p y r i g h t 1992 b y M a r v i n J. L e v e n t h a l & D a n i e l D . H a r l a n J u n e 1992 / $5.00

Gary Plants's =
NO WAY OUT M L : A n y m a g i c i a n w i t h e v e n the s l i g h t e s t i n t e r e s t i n c a r d m a g i c o u g h t to
be t h a n k f u l f o r D i s n e y W o r l d , for it w a s t h e r e i n 1972 that G a r y P l a n t s ' s
i n t e r e s t i n m a g i c w a s f u e l e d . B y s t e p p i n g i n t o the m a g i c s h o p o n M a i n
S t r e e t U . S . A . i n D i s n e y W o r l d a n d p u r c h a s i n g a set of s p o n g e b u n n i e s
a n d a n i n v i s i b l e deck, his interest i n m a g i c w a s i g n i t e d . Since then G a r y
has d e v e l o p e d into a top-notch c a r d i c i a n w h o r e g u l a r l y fools both
m a g i c i a n s a n d l a y p e o p l e a l i k e . H o w e v e r , s i n c e m a g i c is j u s t a h o b b y to
h i m , not a p r o f e s s i o n , s o m e of y o u m a y n o t b e f a m i l i a r w i t h h i s w o r k . A s
s u c h , T H E M I N O T A U R is p l e a s e d to b r i n g y o u G a r y ' s No Way Out.

If s o l d c o m m e r c i a l l y , the a d v e r d s e m e n t f o r No Way Out w o u l d p r o b a b l y

read s o m e t h i n g l i k e this. A spectator t h i n k s of a c a r d f r o m a s h u f f l e d
p a c k e t , a n d w i t h no q u e s t i o n s a s k e d (that's r i g h t — n o t a one), the
m a g i c i a n s u c c e s s f u l l y l o c a t e s the t h o u g h t o f c a r d ! E a s y to d o . N o o u t s .
W o r k s 100%. A r e a l s t u n n e r w h o s e n a m e d e s c r i b e s e x a c t l y w h a t y o u
l e a v e y o u r spectators w i t h to f i g u r e o u t h o w i t ' s d o n e — No Way Out'.

W i t h that k i n d of b u i l d u p this m u s t b e g o o d , a n d b y h i s o w n a d m i s s i o n ,
No Way Out i s o n e of G a r y ' s f a v o r i t e effects. It's h i s h a n d l i n g of a n effect
that c a n be f o u n d i n The Royal Road to Card Magic a n d The Magic of jimmy
Grippo. T h e n a m e of the effect i n t h o s e b o o k s i s r e l a t i v e l y u n i m p o r t a n t ,
s i n c e G a r y ' s h a n d l i n g bares o n l y s l i g h t r e s e m b l a n c e to the o r i g i n a l s . A s a
challenge, y o u m i g h t try p i c k i n g o u t the o r i g i n a l s after r e a d i n g this
e x p l a n a d o n . In the m e a n t i m e , g r a b a d e c k of c a r d s a n d f o l l o w a l o n g .

A l t h o u g h this effect a p p e a r s to be t o t a l l y i m p r o m p t u to y o u r s p e c t a t o r s ,
it r e q u i r e s y o u to u s e a d e c k c o n t a i n i n g a c a r d w i t h a r e v e r s e b r e a t h e r
c r i m p i n i t . T h i s c r i m p is d e s c r i b e d as The Breather Crimp o n p a g e 96 of
The Vernon Chronicles Volume 1 a n d i s p u t i n a c a r d w h i l e the c a r d is face
u p . H o w e v e r , f o r t h i s effect, the c r i m p i s p u t i n a c a r d w h i l e the c a r d is
face d o w n , m a k i n g it t e c h n i c a l l y a r e v e r s e b r e a t h e r c r i m p .

S u c k It U p 5
1
N Speck-uladon 6
S Pivotal Pinch 8
1
i
Joint V e n t u r e 10
D
E F r o m the L a b y r i n t h 12
 T o a p p l y the r e v e r s e b r e a t h e r c r i m p , f i r s t select the c a r d to be c r i m p e d .
A n y c a r d c a n be u s e d , b u t a face c a r d i s a g o o d c h o i c e , b e c a u s e it h e l p s
c a m o u f l a g e the l i t t l e there is to see of the c r i m p w h e n l o o k i n g d i r e c t l y at
the face of the c a r d . G a r y a l w a y s c r i m p s the q u e e n o f h e a r t s . A s s u m i n g
that y o u ' l l d o l i k e w i s e , r e m o v e the q u e e n of h e a r t s f r o m y o u r d e c k .

H o l d the q u e e n face d o w n at a n y c o r n e r b e t w e e n y o u r l e f t t h u m b a n d
y o u r left i n d e x a n d m i d d l e fingers, t h u m b o n t o p of the c a r d , f i n g e r s
b e l o w . G r i p the c e n t e r of the c a r d b e t w e e n the d p of y o u r r i g h t t h u m b o n
top and y o u r right index and m i d d l e fingers b e l o w . N o w a p p l y firm
d o w n w a r d p r e s s u r e w i t h the t i p of y o u r r i g h t t h u m b as y o u s l i d e it a n d
y o u r r i g h t i n d e x a n d m i d d l e f i n g e r s t o w a r d the c o r n e r of the c a r d
d i a g o n a l l y o p p o s i t e the c o r n e r h e l d b y y o u r left h a n d ( F i g u r e 1, p r e v i o u s
p a g e ) . T h i s w i l l create a sort of t r o u g h i n the c a r d . R e p e a t t h e s e a c d o n s
w i t h the r e m a i n i n g t h r e e c o r n e r s o f the q u e e n so t h a t y o u e n d u p w i t h
f o u r t r o u g h s i n the c a r d that f o r m a n " X " ( F i g u r e 2, p r e v i o u s p a g e ) .

T h a t ' s the r e v e r s e b r e a t h e r c r i m p . If y o u ' v e a p p l i e d it c o r r e c t l y , y o u ' l l

f i n d a d u l l p e a k at the c e n t e r of the f a c e of t h e c a r d . F r o m h e r e o n i n , I
w i l l r e f e r to t h i s c a r d as t h e b r e a t h e r c a r d . T h e b e a u t y o f t h e b r e a t h e r
c a r d i s t h a t o n c e i t ' s l o s t i n t h e f a c e d o w n d e c k , it c a n b e e a s i l y c u t to
w i t h o u t h e s i t a d o n at e i t h e r the l o n g s i d e s o r the s h o r t e n d s o f the d e c k .
G i v e it a t r y a n d see for y o u r s e l f . T h e d o w n w a r d p e a k at the c e n t e r of the
f a c e d o w n b r e a t h e r c a r d c a u s e s i t to h a p p e n a l m o s t a u t o m a t i c a l l y ,
m a k i n g the breather c a r d the b o t t o m c a r d of the c u t off p o r d o n .

W i t h the b r e a t h e r c a r d i n y o u r d e c k , y o u a r e r e a d y to p e r f o r m . H a n d
y o u r d e c k o u t to a spectator a n d ask h i m to s h u f f l e it. T h e n t a k e the d e c k
b a c k , f l i p it face u p , a n d b e g i n s p r e a d i n g the c a r d s f r o m y o u r left h a n d to
y o u r r i g h t h a n d so y o u r s p e c t a t o r s c a n see the faces of the c a r d s . A s y o u
d o so, l o o k f o r a n y e a s i l y r e m e m b e r e d c a r d o t h e r t h a n the b r e a t h e r c a r d .
G a r y l o o k s for the ace of s p a d e s . A s s u m i n g that y o u ' l l d o l i k e w i s e , w h e n
y o u c o m e to the ace of spades, s p l i t the s p r e a d so that the ace of s p a d e s is
the b o t t o m c a r d of the r i g h t - h a n d p o r d o n ( F i g u r e 3).

T h u m b o f f the t o p c a r d of the l e f t - h a n d p o r d o n face u p o n t o t h e t a b l e .

T h e n p l a c e the r i g h t - h a n d p o r d o n b e l o w the l e f t - h a n d p o r t i o n , s q u a r e
the d e c k , f l i p it face d o w n , a n d p l a c e it o n the table. Y o u h a v e just
s e c r e t l y b r o u g h t t h e ace o f s p a d e s to t h e t o p o f t h e t a b l e d d e c k . N o w
g e s t u r e t o w a r d the f a c e - u p c a r d a n d i n q u i r e of the s p e c t a t o r that
s h u f f l e d , "If I a s k e d y o u to t h i n k of this c a r d a n d t h e n t o l d y o u w h a t c a r d
y o u w e r e t h i n k i n g of, y o u p r o b a b l y w o u l d n ' t b e r e a l i m p r e s s e d , r i g h t ? "
O n c e y o u r s p e c t a t o r r e s p o n d s a f f i r m a t i v e l y , p i c k u p the d e c k , f l i p it face
u p , a n d s p r e a d the c a r d s f r o m y o u r left h a n d to y o u r r i g h t h a n d a g a i n ,
t h i s t i m e l o o k i n g f o r the b r e a t h e r c a r d . W h e n y o u c o m e to i t , s p l i t t h e
s p r e a d so that it is the b o t t o m c a r d of r i g h t - h a n d p o r t i o n .

T h u m b off the t o p c a r d of the l e f t - h a n d p o r t i o n f a c e u p o n t o the

p r e v i o u s l y t h u m b e d o f f c a r d ( F i g u r e 4) i n a s l i g h t l y f a n n e d c o n d i t i o n .
N o w y o u h a v e to p u t t h e t w o p o r d o n s b a c k t o g e t h e r so t h a t w h e n the
5
d e c k i s s q u a r e d a n d f l i p p e d face d o w n , the b r e a t h e r c a r d w i l l b e the t o p
c a r d w i t h the ace of s p a d e s d i r e c t l y u n d e r it. H e r e are t h r e e m e t h o d s that
w i l l a c c o m p l i s h just that. C h o o s e the o n e y o u feel m o s t c o m f o r t a b l e w i t h .

M e t h o d #1: T h i s is the m o s t d i r e c t m e t h o d . B r i n g the t w o p o r t i o n s of the

s p r e a d b a c k t o g e t h e r a n d c o n d n u e s p r e a d i n g the c a r d s i n t o y o u r r i g h t
h a n d . H o w e v e r , as y o u d o so, c u l l the b r e a t h e r c a r d b e l o w the s p r e a d so
that the c a r d s are fed i n t o y o u r r i g h t h a n d a b o v e the b r e a t h e r c a r d
 ( F i g u r e 5, p r e v i o u s p a g e ) . B y s q u a r i n g the d e c k a n d f l i p p i n g it face
d o w n , the breather c a r d a n d the ace of s p a d e s w i l l be i n p o s i t i o n .

M e t h o d #2: S i m u l t a n e o u s l y s q u a r e t h e l e f t - h a n d p o r t i o n o f t h e s p r e a d
w i t h y o u r l e f t h a n d a n d the r i g h t - h a n d p o r t i o n w i t h y o u r r i g h t h a n d .
T u r n b o t h h a n d s p a l m d o w n , t u r n i n g b o t h p o r t i o n s face d o w n i n the
p r o c e s s , a n d p l a c e b o t h p o r t i o n s o n the t a b l e i n p r e p a r a t i o n f o r a r i f f l e
s h u f f l e . T h e n riffle s h u f f l e the p o r t i o n s t o g e t h e r , a l l o w i n g the t o p c a r d of
the l e f t - h a n d p o r t i o n (the ace o f s p a d e s ) to f a l l s e c o n d to l a s t a n d the t o p
c a r d o f the r i g h t - h a n d p o r t i o n (the b r e a t h e r c a r d ) to f a l l l a s t . S q u a r e the
d e c k , a n d the breather c a r d a n d the ace o f s p a d e s w i l l b e i n p o s i t i o n .

M e t h o d #3: A s i n M e t h o d #2, s q u a r e u p t h e p o r t i o n s i n e a c h h a n d .
H o w e v e r , w i t h o u t t u r n i n g y o u r h a n d s p a l m d o w n , m a n e u v e r the
p o r t i o n s face d o w n i n y o u r p a l m - u p h a n d s . M o m e n t a r i l y p l a c e the
r i g h t - h a n d p o r t i o n o n t o the l e f t - h a n d p o r t i o n b u t s i d e - j o g g e d to the right
( F i g u r e 6). T h e n r e g r i p the s i d e - j o g g e d p o r t i o n f r o m b e l o w b e t w e e n y o u r
right t h u m b and m i d d l e finger i n preparation for a n o v e r h a n d shuffle
( F i g u r e 7) a n d s h u f f l e as f o l l o w s . W i t h y o u r left t h u m b , r u n the t o p c a r d
o f the r i g h t - h a n d p o r t i o n (the b r e a t h e r c a r d ) s q u a r e o n t o t h e l e f t - h a n d
p o r t i o n . T h i s p u t s the b r e a t h e r c a r d o n t o p o f the ace o f s p a d e s . R u n the
next c a r d i n j o g g e d o n t o p of the b r e a t h e r c a r d ( F i g u r e 8). T h e n o v e r h a n d
s h u f f l e the r e m a i n i n g r i g h t - h a n d c a r d s o n t o the l e f t - h a n d p o r t i o n
l e g i t i m a t e l y . B y c u t t i n g a l l the c a r d s b e l o w the i n j o g g e d c a r d to the t o p of
the d e c k , the breather c a r d a n d the ace of s p a d e s w i l l b e i n p o s i t i o n .

O n c e y o u ' v e e m p l o y e d o n e o f t h e a b o v e m e t h o d s , p l a c e t h e d e c k face
d o w n o n t h e t a b l e , i f y o u h a v e n ' t a l r e a d y , a n d a s k , "If I a s k e d y o u to
t h i n k of e i t h e r o f these t w o c a r d s a n d t h e n t o l d y o u t h e c a r d y o u w e r e
t h i n k i n g of, y o u p r o b a b l y still w o u l d n ' t be too i m p r e s s e d , s e e i n g as I h a d
a 50/50 c h a n c e , c o r r e c t ? " O n c e y o u r s p e c t a t o r r e s p o n d s a f f i r m a t i v e l y ,
c o n t i n u e b y s a y i n g , ' S o let's m a k e it a l i t t l e m o r e d i f f i c u l t . "

Y o u w i l l n o w p l a c e t w o m o r e face u p c a r d s o n t o the t w o c a r d s a l r e a d y
o n the t a b l e i n the f o l l o w i n g m a n n e r . P i c k u p the d e c k , f l i p i t face u p ,
a n d s p r e a d f i v e c a r d s f r o m t h e f a c e o f the d e c k i n t o y o u r r i g h t h a n d .
T h u m b o f f the n e x t c a r d o n t o the t w o c a r d s o n t h e t a b l e ( F i g u r e 9, n e x t
p a g e ) . T h e n s p r e a d ten m o r e c a r d s f r o m the t o p o f the l e f t - h a n d p o r t i o n
b e l o w the f i v e c a r d s i n y o u r right h a n d a n d t h u m b o f f the n e x t c a r d o n t o
the t h r e e c a r d s o n the table. Y o u w a n t it to l o o k as if y o u just t h u m b e d
o f f t w o r a n d o m c a r d s o u t of the d e c k , so t r y to c o n c e a l the fact that y o u
are c o u n t i n g the c a r d s as y o u s p r e a d t h e m .

Y o u s h o u l d n o w h a v e f o u r c a r d s o n the t a b l e a n d f i f t e e n c a r d s i n y o u r
r i g h t h a n d . P l a c e the f i f t e e n c a r d s i n y o u r right h a n d b e l o w the c a r d s i n
y o u r l e f t h a n d , s q u a r e the d e c k , f l i p i t f a c e d o w n , a n d p l a c e it o n t h e
table next to the f o u r f a c e - u p c a r d s . A s a c h e c k , the b r e a t h e r c a r d s h o u l d
n o w be the s i x t e e n t h c a r d f r o m the t o p of the d e c k , a n d the ace o f s p a d e s
s h o u l d be r i g h t b e l o w it i n the s e v e n t e e n t h p o s i t i o n .

8 P i c k u p the f o u r f a c e - u p c a r d s , f l i p t h e m f a c e d o w n , a n d h a n d t h e m to
y o u r spectator. A s k h i m to s h u f f l e t h e m . T h e n , as a n a f t e r t h o u g h t , r e a c h
d o w n a n d c u t off a b o u t f i v e to e i g h t c a r d s o f f the t o p o f the d e c k o n the
t a b l e a n d h a n d t h e m to y o u r s p e c t a t o r to a d d t o t h e f o u r h e a l r e a d y
h o l d s . A s y o u d o so s a y , " H e r e , l e t ' s a d d a f e w m o r e c a r d s to m a k e it
even m o r e d i f f i c u l t . " A s y o u r spectator c o n t i n u e s his shuffle say, " W h a t
the h e c k — l e t ' s m a k e it e v e n m o r e d i f f i c u l t . " T h e n r e a c h d o w n a n d c u t
o f f a l l the c a r d s to a n d i n c l u d i n g the b r e a t h e r c a r d a n d h a n d t h e m to
 y o u r spectator to a d d to the c a r d s he a l r e a d y h o l d s . A s a p r e c a u t i o n , y o u
m i g h t w a n t to t a k e a g l a n c e at the b o t t o m c a r d o f t h i s c u t o f f p o r t i o n as
y o u h a n d it to y o u r s p e c t a t o r j u s t to m a k e s u r e i t ' s the q u e e n o f h e a r t s ,
the b r e a t h e r c a r d ( F i g u r e 10).

N o w h a v e y o u r s p e c t a t o r s h u f f l e a l l the c a r d s h e h o l d s . A t t h i s p o i n t , h e
w i l l b e s h u f f l i n g t w e n t y c a r d s — the f o u r c a r d s o r i g i n a l l y d e a l t to the
table, the f i f t e e n c a r d s that w e r e a b o v e the b r e a t h e r c a r d , a n d the
b r e a t h e r c a r d itself. O f c o u r s e , h e s h o u l d b e t o t a l l y u n a w a r e o f t h i s a n d
the fact that the t o p c a r d of the p o r t i o n o n the table is the ace of s p a d e s .

N o w h a v e y o u r s p e c t a t o r s p r e a d o r f a n the c a r d s w i t h the f a c e s t o w a r d
h i m , so that y o u c a n n o t t h e i r faces, a n d a s k h i m to t h i n k o f a n y c a r d h e
sees. T h e n ask h i m to r e m o v e it a n d p l a c e it face d o w n o n the table. H a v e
h i m s h u f f l e the r e m a i n i n g c a r d s he h o l d s o n c e a g a i n a n d p l a c e t h e m face
d o w n o n t o p of the p o r t i o n o f t h e d e c k o n the t a b l e . T h e n d i r e c t h i m to
p i c k u p h i s c a r d a n d p l a c e it o n t o p of the d e c k . T h i s p l a c e s h i s t h o u g h t
of c a r d t w e n t y c a r d s a b o v e the ace of s p a d e s .

T o c o n t i n u e , h a v e y o u r spectator c u t o f f a p p r o x i m a t e l y t h r e e - q u a r t e r s of
the d e c k a n d p l a c e it o n the t a b l e n e x t to the b o t t o m q u a r t e r ( F i g u r e 11).
N o w h a v e h i m p i c k u p the b o t t o m q u a r t e r , s h u f f l e it, a n d d r o p it o n t o p
o f h i s c a r d , t h u s l o s i n g h i s t h o u g h t o f c a r d i n the d e c k . H o w e v e r , e v e n
t h o u g h y o u d o n ' t k n o w w h a t h i s c a r d is o r its l o c a t i o n , i t ' s s t i l l t w e n t y
c a r d s a b o v e the ace of s p a d e s .

A t t h i s p o i n t , r e c a p w h a t has t r a n s p i r e d so far to i n s t i l l the i m p o s s i b i l i t y

o f the s i t u a t i o n . " R e m e m b e r , y o u m e r e l y t h o u g h t o f a c a r d a n d p l a c e d it
o n t o p of s o m e c a r d s y o u y o u r s e l f s h u f f l e d s e v e r a l t i m e s . S o t h e r e is n o
p o s s i b l e w a y I c o u l d k n o w the i d e n t i t y of y o u r c a r d o r the c a r d s d i r e c t l y
b e l o w i t . Y o u a l s o c u t off a p o r t i o n o f the d e c k , l e a v i n g a s m a l l p a c k e t o f
c a r d s o n the table. Y o u t h e n s h u f f l e d that s m a l l p a c k e t a n d d r o p p e d it o n
t o p of y o u r t h o u g h t o f c a r d . S i n c e y o u c u t o f f a n d s h u f f l e d t h o s e c a r d s ,
t h e r e is n o p o s s i b l e w a y I c o u l d k n o w h o w m a n y c a r d s y o u d r o p p e d o n
t o p o f y o u r c a r d o r the i d e n t i t y o f the c a r d s d i r e c t l y a b o v e i t . In o t h e r
w o r d s , y o u r t h o u g h t of c a r d is h o p e l e s s l y lost i n the d e c k . I t h i n k y o u
w o u l d agree — these are true test c o n d i t i o n s ! "

A s a n a f t e r t h o u g h t a d d , " H o w e v e r , j u s t to m a k e s u r e , w h y d o n ' t y o u
g i v e the d e c k a c o m p l e t e c u t , " a n d h a v e y o u r s p e c t a t o r c u t the d e c k a n d
c o m p l e t e the c u t . E v e n so, h i s c a r d i s s t i l l t w e n t y c a r d s a w a y f r o m the
a c e s of s p a d e s . W i t h t h i s k n o w l e d g e , t h e r e a r e s e v e r a l w a y s y o u c o u l d
f i n d a n d r e v e a l the t h o u g h t of c a r d . H o w e v e r , h e r e ' s h o w G a r y d o e s it.

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

h a n d to y o u r r i g h t h a n d so y o u r s p e c t a t o r c a n see the f a c e s o f the c a r d s
as y o u s a y s o m e t h i n g l i k e , " I n o r d e r to f i n d y o u r t h o u g h t o f c a r d , I ' l l
need y o u r h e l p . " A s y o u f i n i s h this sentence, cut the c a r d s b y s p l i t t i n g
the s p r e a d s o m e w h e r e a r o u n d the h a l f w a y p o i n t a n d p l a c i n g the
r i g h t - h a n d c a r d s b e l o w the l e f t - h a n d c a r d s .

N o w s q u a r e the face u p d e c k a n d s a y , " A s I s p r e a d t h r o u g h the c a r d s , I

12 w o u l d l i k e y o u to t h i n k s t o p w h e n y o u see t h e c a r d y o u t h o u g h t o f . "
T h e n t u r n y o u r b a c k to y o u r spectator a n d h o l d the d e c k u p at a b o u t e y e
l e v e l a n d off to o n e s i d e , so b o t h y o u a n d y o u r s p e c t a t o r c a n see the faces
o f the c a r d s ( F i g u r e 12). B e g i n s p r e a d i n g the c a r d s s l o w l y f r o m y o u r left
h a n d to y o u r r i g h t h a n d a n d w a t c h f o r the ace o f s p a d e s . O n c e y o u r see
it, d o n ' t hesitate — k e e p s p r e a d i n g . H o w e v e r , s e c r e t l y start c o u n t i n g the
 c a r d s b e g i n n i n g w i t h the c a r d d i r e c t l y to the l e f t of the ace ( F i g u r e 13).
T h e t w e n t i e t h c a r d y o u c o u n t w i l l be y o u r s p e c t a t o r ' s t h o u g h t of c a r d .
T h e p u r p o s e o f the c u t y o u m a k e b e f o r e t u r n i n g y o u r b a c k to y o u r
spectator i s to p o s i t i o n the ace of s p a d e s so that y o u ' l l u s u a l l y b e a b l e to
c o u n t to the t w e n t i e t h c a r d f o l l o w i n g it b e f o r e r e a c h i n g the b o t t o m o f the
d e c k . H o w e v e r , if y o u s h o u l d r e a c h the b o t t o m of the d e c k b e f o r e
c o u n t i n g t w e n t y c a r d s , c o n d n u e y o u r c o u n t f r o m the t o p o f the d e c k .

T o c o n c l u d e t h i s m i r a c l e , s l o w d o w n as y o u a p p r o a c h y o u r s p e c t a t o r ' s
t h o u g h t of card a n d then very s l o w l y a n d d r a m a t i c a l l y u p j o g their c a r d
o u t of the s p r e a d ( F i g u r e 14). A s k t h e m if t h i s i s the c a r d t h e y t h o u g h t of.
A l t h o u g h it i s , d o n ' t e x p e c t to h e a r a r e s o u n d i n g " y e s " . Y o u r s p e c t a t o r
w i l l p r o b a b l y be too s t u n n e d to d o a n y t h i n g b u t n o d i n a g r e e m e n t .

H o r n i n g i n : T h e o b v i o u s s t r e n g t h of t h i s effect is the s e e m i n g l y
i m p o s s i b l e conditions u n d e r w h i c h y o u locate y o u r spectator's card.
H o w e v e r , i t ' s the s u b t l e t y o f a s k i n g y o u r s p e c t a t o r to t h i n k o f a c a r d
r a t h e r t h a n a s k i n g h i m to select a c a r d a n d t h e n a l w a y s r e f e r r i n g to h i s
c a r d as h i s t h o u g h t of c a r d r a t h e r t h a n h i s s e l e c t e d c a r d t h a t m a k e s the
i m p a c t of this effect l i n g e r o n l o n g after i t ' s o v e r . In fact, i n a d a y o r t w o
after p e r f o r m i n g this, I c a n just p i c t u r e y o u r spectator d e s c r i b i n g his
e x p e r i e n c e to a f r i e n d b y s a y i n g , " Y o u w o n ' t b e l i e v e the t r i c k I s a w the
o t h e r n i g h t . T h i s m a g i c i a n ( p u t y o u r n a m e here) h a d m e just t h i n k of a n y
c a r d , a n d t h e n h e j u s t r a n t h r o u g h t h e c a r d s a n d s o m e h o w f o u n d the
c a r d I t h o u g h t o f . " H e y — it c o u l d h a p p e n !

T h e r e are a c o u p l e of t h i n g s to b e a w a r e of. F i r s t , y o u r s p e c t a t o r s m i g h t
t h i n k y o u ' r e u s i n g m a r k e d c a r d s . A s s u c h , y o u m i g h t w a n t to b r a v e l y
turn y o u r back o n y o u r spectator w h i l e he selects a n d loses his card i n
the d e c k . H o w e v e r , t r y to g l i m p s e the p r o c e e d i n g s o v e r y o u r s h o u l d e r
n o w a n d then to m a k e s u r e that he is f o l l o w i n g y o u r d i r e c t i o n s c o r r e c t l y .

S e c o n d , be o n the l o o k o u t f o r w i s e g u y s that m i g h t l i e a b o u t the i d e n t i t y

o f t h e i r t h o u g h t of c a r d after y o u u p j o g it. If y o u s u s p e c t y o u ' r e d e a l i n g
w i t h s u c h a spectator, a n d e v e n if y o u d o n ' t , here's a n alternate w a y of
e n d i n g . A s y o u s p r e a d to the t w e n t i e t h c a r d , w h e n y o u r c o u n t r e a c h e s
f i f t e e n o r s i x t e e n , c o n t i n u e to c o u n t b u t t u r n a r o u n d a n d f a c e y o u r
s p e c t a t o r a g a i n so that the b a c k s o f the c a r d s a r e n o w f a c i n g h i m . T h e n
w h e n y o u reach the t w e n t i e t h c a r d a n d u p j o g it, a s k h i m f o r the n a m e of
the c a r d he t h o u g h t of. O n c e h e r e s p o n d s c o r r e c t l y , r e m o v e the u p j o g g e d
c a r d f r o m the s p r e a d a n d t u r n it o v e r to r e v e a l h i s t h o u g h t o f c a r d >

Bob Rees's
SUCK IT UP
D H : T o d e s c r i b e B o b R e e s ' s p e r f o r m i n g s t y l e i n o n e w o r d , it w o u l d b e
b o i s t e r o u s . Y o u n e v e r h a v e to w o r r y a b o u t l o o s i n g i n t e r e s t w h e n h e
p e r f o r m s , because he keeps y o u too b u s y l a u g h i n g a n d h a v i n g a g o o d
time. A s a r e s u l t , i t ' s easy to o v e r l o o k the d e t a i l s o f h i s p e r f o r m a n c e , b u t
i t ' s p r e c i s e l y those d e t a i l s t h a t e n h a n c e h i s a b i l i t y to b e so e n t e r t a i n i n g .
B o b s h a r e d o n e o f those d e t a i l s w i t h M a r v a n d m e w h e n w e r a n i n t o h i m
at the recent 6 F c o n v e n t i o n (see F r o m the L a b y r i n t h ) .

W e w e r e t a l k i n g a b o u t i n v i s i b l e t h r e a d , a n d I m e n t i o n e d the d i f f i c u l t y of
h o o k i n g it u p i n the m i d d l e o f a p e r f o r m a n c e . If y o u ' r e n o t f a m i l i a r w i t h
u s i n g i n v i s i b l e thread, the h o o k u p c o m m o n l y consists of a t t a c h i n g one
 e n d to a s m a l l t a b o f S c o t c h t a p e a n d p l a c i n g i t i n y o u r m o u t h a n d
a t t a c h i n g t h e o t h e r e n d to a n object o n a t a b l e ( F i g u r e 1, p r e v i o u s p a g e ) .
T h e p r o b l e m is g e t t i n g the t h r e a d i n t o y o u r m o u t h s m o o t h l y a n d
i n c o n s p i c u o u s l y . H e r e ' s the w a y B o b h a s c o m e u p w i t h to d o just that.

W h e n p e r f o r m i n g close-up, Bob carries a r o u n d w i t h h i m a glass of soda

or water w i t h a standard size straw i n it. B o b also carries a s m a l l , black,
w a l l e t - s i z e case that h o l d s h i s b u s i n e s s c a r d s . U n b e k n o w n s t to h i s
a u d i e n c e , t h i s case i s a l s o a n i n v i s i b l e t h r e a d d i s p e n s e r . It c o n t a i n s t w o
reels onto w h i c h the thread is w o u n d ( F i g u r e 2). T h i s p r o d u c t is
c o m m e r c i a l l y a v a i l a b l e u n d e r t h e n a m e o f The Spooler f r o m B i l l E l g i n ,
2620 W . B a l l R o a d , #103, A n a h e i m , C A 92804.

T o p r e p a r e , B o b w i n d s a t h r e a d o n t o e a c h r e e l a n d a f f i x e s S c o t c h t a p e to
the free e n d o f each t h r e a d . H o w e v e r , i n s t e a d o f m e r e l y u s i n g a s m a l l t a b
o f t a p e , h e r o l l s a s m a l l p i e c e i n t o a t i g h t l i t t l e c y l i n d e r ( F i g u r e 3). T h e n
w h e n h e i s a b o u t to a p p r o a c h a table w h e r e h e w i l l float s o m e t h i n g u s i n g
the t h r e a d , s a y a b o r r o w e d b i l l , h e s l i p s o n e o f t h e c y l i n d e r s i n t o the e n d
of the s t r a w i n h i s d r i n k . H e t h e n p l a c e s h i s d r i n k o n t o p o f the l i t t l e
b l a c k case a n d carries t h e m b o t h to the table.

A t the table, h e p l a c e s h i s d r i n k d o w n w i t h t h e c a s e n e x t to i t ( F i g u r e 4).

W h e n i t ' s t i m e to float the b i l l , B o b s i m p l y p i c k s u p h i s d r i n k a n d takes a
s i p o f it t h r o u g h the s t r a w . T h i s a u t o m a t i c a l l y s u c k s t h e e n d o f t h e t h r e a d
u p o u t o f t h e s t r a w a n d l o a d s it i n t o h i s m o u t h w i t h n o f u m b l i n g o r
a w k w a r d m o v e m e n t s whatsoever. T h e reel takes care of setting the
c o r r e c t l e n g t h o f t h r e a d a s h e p i c k s u p h i s d r i n k . B o b i s n o w r e a d y to
float the b i l l . O n e w a r n i n g — s i p c a r e f u l l y o r y o u m i g h t s w a l l o w the
p i e c e of tape. A s f o r h i s little b l a c k case, if s o m e o n e asks a b o u t i t , B o b
s i m p l y p i c k s it u p , o p e n s it, a n d g i v e s that p e r s o n a b u s i n e s s c a r d .

H o r n i n g i n : W h a t a n easy a n d n a t u r a l w a y to k e e p track of the thread

a n d get it i n t o y o u r m o u t h . If y o u d o a f l o a t i n g b i l l r o u t i n e , I ' m s u r e y o u
realize its value. Here's another practical a p p l i c a t i o n of Bob's idea.
A t t a c h o n e e n d of a o n e foot l o n g piece of i n v i s i b l e elastic to a tape
c y l i n d e r , p l a c e it i n t o the s t r a w , a n d tape the o t h e r e n d to t h e b o t t o m o f a
g l a s s ( F i g u r e 5). T h i s a l l o w s y o u to c a r r y o n l y t h e g l a s s a n d s t i l l b e a b l e
to l o a d the t h r e a d i n t o y o u r m o u t h as d e s c r i b e d . T h e e l a s t i c stretches o u t
to a l i t t l e o v e r f o u r feet a s t h e g l a s s i s p l a c e d o n t h e t a b l e to a n c h o r t h e
o t h e r e n d . O n c e the f l o a t i n g i s o v e r , take a n o t h e r s i p to r e t u r n t h e t a p e d
e n d b a c k i n t o the s t r a w to reset. H o w e v e r y o u c h o o s e to a d a p t i t , I t h i n k
B o b ' s idea is great, w h i c h is k i n d of strange if y o u t h i n k a b o u t i t . A f t e r
a l l , h o w o f t e n c a n y o u s a y that s o m e t h i n g great r e a l l y s u c k s . •

Anthony Lindan's ;
SPECK-ULATION
M L : R e a l l y g o o d e f f e c t s that c a n b e d o n e w i t h y o u r b u s i n e s s c a r d s a r e
h a r d to c o m e b y . O f c o u r s e , there a r e s o m e . O n e that i m m e d i a t e l y c o m e s
to m i n d ( n o t t o o s u r p r i s i n g l y ) i s Forget to Remember f r o m t h e M a r c h 1991
issue of T H E M I N O T A U R . N o w here's another f r o m the same person
that d r e a m e d that o n e u p — that m a g i c C a n a d i a n A n t h o n y L i n d a n . S i n c e
D a n a n d I k n o w the v a l u e of getting y o u r business c a r d s into the h a n d s
of y o u r spectators as m u c h as A n t h o n y o b v i o u s l y d o e s , w e c o r n e r e d
h i m at t h e recent 6 F c o n v e n t i o n (see F r o m t h e L a b y r i n t h ) a n d g o t h i m to
p a r t w i t h this. A f t e r r e a d i n g it, w e t h i n k y o u ' l l b e g l a d w e d i d .
H e r e ' s w h a t h a p p e n s . S p e c k s r a n d o m l y d o t t e d o n the b l a n k s i d e o f o n e
of y o u r b u s i n e s s c a r d s r e a r r a n g e t h e m s e l v e s to s p e l l o u t y o u r s p e c t a t o r ' s
n a m e . If that s o u n d s l i k e s o m e t h i n g y o u ' d l i k e to m a k e h a p p e n , r o u n d
u p f i v e or m o r e of y o u r b u s i n e s s c a r d s a n d a p e n , a n d w e ' l l get s t a r t e d .

T o prepare, arrange y o u r business cards i n a stack, p r i n t e d side u p . Take

o n e c a r d f r o m the s t a c k a n d r a n d o m l y d r a w s o m e s p e c k s o n i t ' s b l a n k
s i d e w i t h the p e n ( F i g u r e 1, p r e v i o u s p a g e ) . P l a c e t h i s c a r d b a c k i n the
s t a c k , s e c o n d f r o m the t o p , s p e c k l e d s i d e d o w n , p r i n t e d s i d e u p . N o w
p l a c e the stack i n a c o n v e n i e n t p o c k e t , a n d y o u ' r e r e a d y to p e r f o r m .

O n e o t h e r t h i n g y o u h a v e to d o b e f o r e y o u c a n p e r f o r m t h i s e f f e c t is
l e a r n y o u r s p e c t a t o r ' s f i r s t n a m e . If y o u ' r e p e r f o r m i n g at a f u n c t i o n
w h e r e e v e r y o n e i s w e a r i n g n a m e t a g s , y o u ' r e a l l set. H o w e v e r , i n the
absence of n a m e tags, y o u c a n e a s i l y l e a r n a n y s p e c t a t o r ' s first n a m e .
S i m p l y introduce yourself a n d then ask for their name i n return.
A l t e r n a d v e l y , y o u c o u l d c l e v e r l y a s k s o m e o n e i n a d v a n c e f o r the f i r s t
n a m e of a p e r s o n y o u t h i n k y o u ' l l b e p e r f o r m i n g t h i s effect f o r later.

W i t h these p r e l i m i n a r i e s o u t o f the w a y , b r i n g o u t t h e p r e p a r e d s t a c k
a n d the p e n . T u r n the t o p c a r d of the s t a c k o v e r so it i s b l a n k s i d e u p . In
a m o m e n t y o u a r e g o i n g to w r i t e s o m e t h i n g o n t h i s c a r d . T o p r e v e n t
y o u r spectators f r o m s e e i n g w h a t y o u a r e a b o u t to w r i t e , c r a d l e the stack
i n y o u r left h a n d ( F i g u r e 2) a n d h o l d it f a i r l y c l o s e t o y o u r b o d y a b o u t
chest h i g h . T h i s i s a f a i r l y n a t u r a l w a y to h o l d the s t a c k i n o r d e r to w r i t e
o n the t o p c a r d w i t h o u t p l a c i n g the stack o n a table.

N o w e m p l o y the o l d o n e a h e a d r u s e b y d r a w i n g y o u r s p e c t a t o r ' s f i r s t
n a m e i n s p e c k s o n the t o p c a r d as y o u a p p a r e n t l y just r a n d o m l y s p e c k it.
A s y o u d o so, e x p l a i n that y o u are p l a c i n g s o m e r a n d o m s p e c k s o n a
c a r d . T r y to m a k e it l o o k as if t h a t ' s e x a c t l y w h a t y o u ' r e d o i n g . S o d o n ' t
f o r m the l e t t e r s o n e at a t i m e f r o m l e f t to r i g h t — s k i p a r o u n d a l i t t l e .
P l a c e a c o u p l e s p e c k s i n t h e f i r s t l e t t e r , t h e n a c o u p l e i n t h e l a s t letter,
t h e n a c o u p l e i n the m i d d l e letters, t h e n a c o u p l e m o r e i n the l a s t letter,
etc. If y o u r s p e c t a t o r ' s n a m e is M a r v (gee, that h a s a n i c e r i n g to it), the
t o p c a r d s h o u l d l o o k l i k e the o n e s h o w n i n F i g u r e 3 w h e n y o u ' r e d o n e .

A f t e r y o u h a v e c o m p l e t e d this task, t u r n the t o p c a r d b a c k o v e r o n t o p o f

the s t a c k . D o t h i s w h i l e the s t a c k i s s d l l c r a d l e d b y g r i p p i n g the u p p e r
r i g h t c o r n e r of the c a r d b e t w e e n y o u r r i g h t t h u m b a n d i n d e x a n d m i d d l e
f i n g e r s to t u r n it o v e r . T h i s w i l l i n s u r e that y o u r s p e c t a t o r w o n ' t see w h a t
y o u d r e w o n the c a r d as y o u t u r n it o v e r . F i g u r e 4 d e p i c t s t h i s a c t i o n
w i t h the c a r d a l m o s t c o m p l e t e l y t u r n e d o v e r .

N o w o f f e r to let y o u r s p e c t a t o r p u t s o m e s p e c k s o n t h e c a r d a n d h a n d
h i m the p e n . H o w e v e r , s u g g e s t that h e f i r s t p l a c e a f e w p r a c t i c e s p e c k s
o n the p r i n t e d s i d e o f the c a r d . W h i l e s t i l l h o l d i n g t h e s t a c k , e x t e n d it
t o w a r d y o u r s p e c t a t o r a n d a l l o w h i m to p l a c e a h a l f d o z e n o r so s p e c k s
o n the p r i n t e d s i d e of the t o p c a r d . W i t h that d o n e a n d after s u f f i c i e n t l y
a d m i r i n g h i s h a n d i w o r k , t u r n o v e r the t o p t w o c a r d s as o n e . T h i s w i l l
b r i n g the r a n d o m l y s p e c k l e d s i d e o f t h e r a n d o m l y s p e c k l e d c a r d i n t o
v i e w . N o w a l l o w y o u r spectator to a d d a h a l f d o z e n o r so s p e c k s to those
a l r e a d y o n this c a r d . T h e n r u m the t o p t w o c a r d s o v e r as o n e a g a i n .

A s a n a f t e r t h o u g h t , s u g g e s t that y o u r s p e c t a t o r s i g n h i s first n a m e o n the

p r i n t e d s i d e o f the t o p c a r d a n d h a v e h i m d o j u s t t h a t . T h e p r i n t e d s i d e
of t h i s c a r d is n o w m a r k e d w i t h y o u r s p e c t a t o r ' s n a m e a n d h i s p r a c t i c e
s p e c k s . A t t h i s p o i n t , l o o k at t h e c a r d a n d r e a d y o u r s p e c t a t o r ' s n a m e
 a l o u d i n a m a n n e r that w i l l c o n v e y the i m p r e s s i o n t h a t y o u are l e a r n i n g
h i s n a m e f o r the f i r s t t i m e . If h e d o e s n ' t b u y t h i s b i t o f a c d n g , n o h a r m
d o n e . H o w e v e r , if he d o e s , it m a k e s the c l i m a x a l l that m o r e p o w e r f u l .

N o w t a k e t h e t o p c a r d o f f t h e s t a c k w i t h y o u r r i g h t h a n d , p l a c e the
r e m a i n d e r of the s t a c k b a c k i n y o u r p o c k e t , a n d t a k e the p e n b a c k f r o m
y o u r spectator. W h i l e h o l d i n g the p e n h o r i z o n t a l l y i n y o u r left h a n d w i t h
its c l i p o n t o p , c l i p the f o r m e r t o p c a r d u n d e r the c l i p , p r i n t e d s i d e u p , so
5 that the l o n g sides of the c a r d r u n p e r p e n d i c u l a r to the c l i p ( F i g u r e 5).

W i t h the p e n still h o r i z o n t a l , a d j u s t y o u r g r i p so that y o u are h o l d i n g the

b a r r e l of the p e n b e t w e e n the f i n g e r s of b o t h h a n d s , f i n g e r s e x t e n d e d a n d
p o i n t i n g d o w n w a r d . N o w rotate the p e n b e t w e e n y o u r h a n d s by
r u b b i n g y o u r h a n d s t o g e t h e r as r a p i d l y as p o s s i b l e , b a c k a n d f o r t h , so
that the c a r d q u i c k l y a l t e r n a t e s s p i n n i n g c l o c k w i s e a n d c o u n t e r c l o c k w i s e
( F i g u r e 6), t h u s d i s p l a y i n g b o t h s i d e s of the c a r d a l m o s t s i m u l t a n e o u s l y .
T h e n a b r u p t l y s t o p r o t a t i n g the p e n so that the s i d e of the c a r d w i t h y o u r
s p e c t a t o r ' s n a m e o n it c o m e s i n t o v i e w ( F i g u r e 7). It s h o u l d a p p e a r that
the s p i n n i n g of the c a r d c a u s e d the s p e c k s to r e a r r a n g e t h e m s e l v e s i n the
f o r m of y o u r s p e c t a t o r ' s n a m e . T o c o n c l u d e , r e m o v e t h e p e n f r o m the
1
/ i c a r d a n d h a n d the c a r d to y o u r spectator for a s o u v e n i r .

If y o u k n o w y o u r s p e c t a t o r ' s n a m e i n a d v a n c e , h e r e ' s a n a l t e r n a t e
m e t h o d . I n s t e a d of r a n d o m l y s p e c k i n g the c a r d s e c o n d f r o m t h e t o p of
6
the stack to p r e p a r e , speck y o u r s p e c t a t o r ' s n a m e o n the b l a n k s i d e of the
t o p c a r d b e f o r e h a n d a n d p l a c e it b a c k o n t o p , p r i n t e d s i d e u p . T o
p e r f o r m , start b y h a v i n g y o u r s p e c t a t o r p r a c t i c e p l a c i n g s o m e s p e c k s o n
the p r i n t e d s i d e of the t o p c a r d . N o w d o a d o u b l e t u r n o v e r a n d h a v e h i m
p l a c e a w h o l e l o t of s p e c k s o n the b l a n k s i d e of w h a t w a s f o r m e r l y the
s e c o n d c a r d f r o m the t o p . T h e n t u r n the d o u b l e d o w n , h a v e h i m s i g n the
p r i n t e d s i d e of the top c a r d , a n d e n d as i n the p r e v i o u s m e t h o d .

H o r n i n g i n : Either m e t h o d is a beauty, eh! (that's C a n a d i a n for pretty

d a r n g o o d ) . In a d d i t i o n , t h i s i s a l s o q u i t e v e r s a t i l e . If y o u ' r e w o r k i n g a
trade s h o w , y o u c o u l d speck y o u r client's n a m e , slogan, or p r o d u c t o n
y o u r b u s i n e s s c a r d i n s t e a d of a spectator's first n a m e . If y o u ' r e w o r k i n g a
r e s t a u r a n t , t r y s p e c k i n g t h e r e s t a u r a n t ' s n a m e . If y o u ' r e w o r k i n g
t h r o u g h an agent and h a n d i n g out his cards, speck y o u r name o n his
c a r d . T h a t g e t s h i s a n d y o u r n a m e i n t o the h a n d s of y o u r s p e c t a t o r . N o
7
m a t t e r h o w y o u p e r f o r m it t h o u g h , Sveck-ulation i s s u r e to m a k e y o u r
b u s i n e s s c a r d o n e y o u r spectator w o n ' t t h r o w a w a y s o o n . 4

Eric Wolf's
PIVOTAL PINCH
M L : Eric W o l f is a clever y o u n g m a g i c i a n f r o m the W a s h i n g t o n , D . C .
a r e a w h o ' s b e e n m a k i n g s o m e w a v e s r e c e n t l y w i t h a c o u p l e of h i s effects
that are b e i n g m a r k e t e d t h r o u g h A l ' s M a g i c S h o p . A t the recent 6F
c o n v e n t i o n (see F r o m the L a b y r i n t h ) , h e p e r f o r m e d t h e o n e k n o w n as
The Hand of Erdnase, a n eerie l o c a d o n of a s e l e c t e d c a r d u s i n g a s k e l e t o n
h a n d h e l d d a n g l i n g f r o m a c h a i n . It's n o t c h e a p , b u t it is i m p r e s s i v e .

O n t h e o t h e r h a n d ( s o r r y a b o u t that), E r i c ' s Pivotal Pinch w i l l o n l y c o s t

y o u a m e a s l y fifty cents. That's because it's a v a n i s h of a half d o l l a r ,
w h i c h is the o n l y p r o p r e q u i r e d . A s w i t h the F r e n c h d r o p , it a p p e a r s as if
a c o i n h e l d b y y o u r l e f t h a n d i s t a k e n b y y o u r r i g h t h a n d . It i s a l s o
 s o m e w h a t r e m i n i s c e n t of a v a n i s h of S l y d i n i ' s that c a n b e f o u n d o n p a g e
37 of Slydini Encores. H o w e v e r , E r i c ' s Pivotal Pinch s e e m s to p o s s e s s a
s t r o n g e r r e t e n t i o n of v i s i o n t h a n e i t h e r of t h o s e .

T o p e r f o r m , start b y h o l d i n g y o u r left h a n d p a l m u p , f i n g e r s e x t e n d e d to
the r i g h t . S p r e a d y o u r left f i n g e r s s l i g h t l y a n d p l a c e a h a l f d o l l a r at the
b a s e of y o u r r i n g f i n g e r ( F i g u r e 1, p r e v i o u s p a g e ) . T h e h a l f d o l l a r s h o u l d
n o t t o u c h y o u r o t h e r f i n g e r s ; it s h o u l d b a l a n c e j u s t o n y o u r r i n g f i n g e r .
B y c o m p a r i s o n , S l y d i n i started w i t h the c o i n o n the p a l m of h i s h a n d .

D i s p l a y the c o i n i n t h i s p o s i t i o n f o r j u s t a m o m e n t . N e x t , a p p r o a c h the
h a l f d o l l a r f r o m a b o v e w i t h y o u r p a l m - d o w n r i g h t h a n d . A s y o u d o so,
extend y o u r right t h u m b straight d o w n a n d y o u r right fingers directly
a w a y f r o m y o u ( F i g u r e 2). N o w m o v e y o u r r i g h t h a n d s t r a i g h t d o w n a n d
p u s h d o w n o n the e d g e of the c o i n n e a r e s t to y o u w i t h the t i p o f y o u r
r i g h t t h u m b . T h i s w i l l c a u s e the c o i n to p i v o t u p a l m o s t v e r t i c a l l y a g a i n s t
the s i d e of y o u r r i n g f i n g e r n e a r e s t to y o u ( F i g u r e 3). K e e p y o u r r i g h t
f i n g e r s e x t e n d e d a w a y f r o m y o u d u r i n g t h i s a c t i o n so y o u r s p e c t a t o r s
c a n see the c o i n b e c o m e v e r t i c a l .

C o n t i n u e b y b e n d i n g y o u r r i g h t f i n g e r s d o w n o n t o the f r o n t s u r f a c e o f
the c o i n as i f to t a k e it f r o m y o u r l e f t h a n d b e t w e e n y o u r r i g h t t h u m b
a n d f i n g e r s ( F i g u r e 4). A t t h i s p o i n t , t h e c o i n s h o u l d b e c o m p l e t e l y
h i d d e n f r o m y o u r s p e c t a t o r s ' v i e w . Y o u w i l l n o w m a k e it l o o k as if y o u r
r i g h t h a n d takes the c o i n f r o m y o u r left h a n d e v e n t h o u g h it d o e s n ' t .

W i t h the c o i n o u t of y o u r s p e c t a t o r s ' v i e w , b r i n g y o u r left f i n g e r s

t o g e t h e r a n d c u r l t h e m u p s l i g h t l y . B e c a u s e the b o t t o m e d g e of the c o i n
is r e s t i n g a g a i n s t the s i d e of y o u r r i n g f i n g e r nearest to y o u , a n d y o u r left
f i n g e r s are c u r l e d , the c o i n w i l l a l m o s t a u t o m a t i c a l l y b e c o m e p i n c h e d , o r
c l i p p e d , b e t w e e n y o u r left r i n g a n d l i t t l e f i n g e r s . O n c e it is p i n c h e d ,
i m m e d i a t e l y t u r n y o u r left h a n d i n w a r d so t h a t y o u r left p a l m i s f a c i n g
y o u . A s y o u t u r n y o u r l e f t h a n d , l o o s e n y o u r r i g h t h a n d ' s g r i p o n the
c o i n so t h a t the c o i n c a n m o v e f r o m v e r t i c a l to h o r i z o n t a l ( F i g u r e 5).
Y o u r r i g h t h a n d r e m a i n s o t h e r w i s e s t a t i o n a r y as y o u r left h a n d t u r n s .

A t the i n s t a n t the c o i n i s a l m o s t h o r i z o n t a l , c o m p l e t e t h e f a k e t a k e b y
your right hand by s i m p l y turning y o u r right a r m over clockwise and
m o v i n g it t o w a r d the r i g h t . Y o u r r i g h t h a n d s h o u l d e n d p a l m u p a n d to
t h e r i g h t of y o u r l e f t h a n d . I n a d d i t i o n , y o u r r i g h t t h u m b a n d f i n g e r s
s h o u l d be p o i n t e d u p w a r d , p r e s s e d t o g e t h e r as if t h e y are h o l d i n g a c o i n
( F i g u r e 6). T o c o m p l e t e the Pivotal Pinch, c a s u a l l y d r o p y o u r left h a n d to
y o u r s i d e . N o w d o w h a t e v e r it is y o u d o w h e n y o u r a u d i e n c e t h i n k s y o u
have a coin i n y o u r right hand w h e n y o u actually don't.

H o r n i n g i n : H e r e ' s a f i n e p o i n t to c o n s i d e r . A s y o u t u r n y o u r l e f t h a n d
a n d p i n c h the c o i n , y o u r i n i t i a l t e n d a n c y m a y b e to l e a v e y o u r left t h u m b
s t i c k i n g u p i n the a i r . T r y to a v o i d t h i s ; it l o o k s s o m e w h a t a w k w a r d a n d ,
as a r e s u l t , m a y tip y o u r a u d i e n c e to the fact t h a t the c o i n i s s t i l l i n y o u r
left h a n d w h e n y o u r r i g h t h a n d a p p e a r s to t a k e i t . I n s t e a d , rest y o u r left
t h u m b a g a i n s t the s i d e of y o u r l e f t i n d e x f i n g e r as y o u t u r n y o u r l e f t
h a n d ( F i g u r e s 5 a n d 6 a g a i n ) . It l o o k s m o r e n a t u r a l a n d , a s a r e s u l t ,
m a k e s the f a k e take w i t h y o u r r i g h t h a n d m o r e c o n v i n c i n g .

T h e r e ' s l i t t l e e l s e I c a n a d d e x c e p t t o s a y t h a t i f y o u Pivotal Pinch

c o r r e c t l y , y o u r a u d i e n c e s h o u l d s w e a r t h a t y o u t o o k the c o i n f r o m y o u r
6 left h a n d w i t h y o u r r i g h t h a n d . I k n o w I d i d w h e n E r i c d i d t h i s f o r m e .
B u t d o n ' t take m y w o r d for it — g i v e it a t r y a n d see f o r y o u r s e l f . *
Dan Harlan's
JOINT VENTURE
D H : W h a t a b i g s u r p r i s e — a n o t h e r r u b b e r b a n d effect f r o m m e ! W h o
w o u l d have ever t h o u g h t that possible? A c t u a l l y , I enjoy w o r k i n g w i t h
r u b b e r b a n d s so m u c h , b e c a u s e t h e y ' r e a v e r y c o m m o n i t e m , e a s y to
c a r r y o n y o u r w r i s t , a n d h a v e m a n y v e r s a t i l e p r o p e r t i e s that m a k e t h e m
p e r f e c t f o r m a g i c . Joint Venture i n v o l v e s p e n e t r a t i n g a b a n d t h r o u g h a
joint of o n e of y o u r f i n g e r s not o n c e , b u t t w i c e . A s u s u a l , a l l y o u n e e d is a
b u n c h of r u b b e r b a n d s , a n d y o u ' r e r e a d y to s n a p to i t .

F o r t h i s effect, I n o r m a l l y select a t h i n , d a r k - c o l o r e d b a n d a b o u t 2-1/2

inches i n diameter, although almost any larger b a n d w i l l w o r k . I choose
a d a r k e r b a n d for contrast against m y fingers, b u t the n e u t r a l - c o l o r e d
o n e s w o r k w e l l t o o . T o p r e p a r e for the f i r s t p e n e t r a t i o n , h o l d y o u r r i g h t
h a n d p a l m d o w n w i t h its fingers s p r e a d a n d p l a c e y o u r r i g h t m i d d l e
f i n g e r i n t o t h e o p e n i n g of t h e b a n d . A l l o w t h e b a n d t o h a n g f r e e l y
a r o u n d y o u r m i d d l e f i n g e r n e a r its b a s e , a b o u t as far b a c k as i t w i l l g o
( F i g u r e 1). M o m e n t a r i l y d i s p l a y the b a n d i n this p o s i t i o n .

P o i n t y o u r r i g h t f i n g e r t i p s d i r e c t l y at y o u r s p e c t a t o r s a n d g r a b the b a n d
b e t w e e n y o u r left t h u m b a n d i n d e x f i n g e r at the s p o t w h e r e i t rests o n
t o p of y o u r r i g h t m i d d l e f i n g e r . Y o u r left t h u m b s h o u l d be o n y o u r s i d e
of the b a n d ; y o u r left i n d e x f i n g e r s h o u l d b e o n y o u r s p e c t a t o r s ' s i d e of
it. P u l l the b a n d s t r a i g h t u p u n t i l it stretches u p a g a i n s t the u n d e r s i d e of
y o u r r i g h t m i d d l e f i n g e r ( F i g u r e 2). W i t h o u t r e l e a s i n g y o u r left h a n d ' s
g r i p , l o w e r the b a n d b a c k to its p r e v i o u s p o s i t i o n , that is, d a n g l i n g b e l o w
a n d encircling y o u r right m i d d l e finger. Repeat this stretching and
d a n g l i n g sequence a c o u p l e of times.

D u r i n g w h a t w i l l be the last d a n g l e , b e g i n c l o s i n g y o u r r i g h t h a n d i n t o a
fist b y c u r l i n g y o u r r i g h t f i n g e r s i n t o w a r d y o u r r i g h t p a l m ( h o w else?).
A s y o u d o this, i n s e r t y o u r r i g h t m i d d l e f i n g e r t i p i n t o the l o w e r l o o p of
the r u b b e r b a n d ( F i g u r e 3). A s s o o n as y o u r r i g h t m i d d l e f i n g e r t i p i s
i n s i d e the l o o p , p u l l u p w i t h y o u r left h a n d to s t r e t c h the b a n d a g a i n s t
t h e t i p of y o u r f i n g e r . C l o s e y o u r r i g h t h a n d i n t o a f i s t as y o u d o t h i s
( F i g u r e 4 ) . T o y o u r s p e c t a t o r s , it w i l l a p p e a r a s t h o u g h t h e b a n d i s
t r a p p e d i n y o u r fist w h i l e s t r e t c h e d a r o u n d y o u r m i d d l e f i n g e r , w h e n it
is a c t u a l l y l o o p e d a r o u n d the t i p of y o u r m i d d l e f i n g e r u n d e r y o u r fist.

W h i l e the b a n d is s t r e t c h e d a b o v e y o u r r i g h t f i s t , m a n e u v e r y o u r l e f t
t h u m b a n d i n d e x f i n g e r i n s i d e the l o o p as t h e y r e l e a s e t h e i r g r i p o n the
b a n d . T h e n s p r e a d t h e m a p a r t as i f f o r m i n g the l e t t e r "c" w i t h t h e m .
P l a c e the p a d of y o u r left m i d d l e f i n g e r a g a i n s t the b a n d a n d the n a i l of
y o u r l e f t i n d e x f i n g e r to k e e p the b a n d f r o m s l i p p i n g ( F i g u r e 5). O f
c o u r s e , a l l the a b o v e a c t i o n s s h o u l d be p e r f o r m e d q u i c k l y a n d s m o o t h l y .

I m m e d i a t e l y f o l l o w i n g the p r e c e d i n g s e q u e n c e , o p e n y o u r r i g h t h a n d
p a l m d o w n , b u t as y o u d o , k e e p y o u r r i g h t f i n g e r s p r e s s e d t i g h t l y
a g a i n s t e a c h o t h e r . In this w a y , the t w o s t r a n d s of the b a n d w i l l be
t r a p p e d next to the s e c o n d joint f r o m the t i p of y o u r r i g h t m i d d l e f i n g e r ,
a n d the l o o p w i l l r e m a i n a r o u n d its t i p .

T h e w h o l e i d e a h e r e is to get i n t o the p o s i t i o n s h o w n i n F i g u r e 6 o n the

n e x t p a g e . T h e l o o p of t h e b a n d a r o u n d t h e t i p o f y o u r r i g h t m i d d l e
f i n g e r is s h i e l d e d f r o m y o u r s p e c t a t o r s ' v i e w b y y o u r l e f t h a n d , b o t h
h a n d s are p a l m d o w n , a n d the b a n d is s t r e t c h e d b e t w e e n y o u r left
t h u m b a n d i n d e x f i n g e r . T o y o u r s p e c t a t o r s , t h e b a n d a p p e a r s to r u n
b e l o w y o u r r i g h t m i d d l e f i n g e r at o n e o f i t s j o i n t s , w h e n it a c t u a l l y r u n s
b e s i d e it a n d a r o u n d its t i p . Y o u c a n s t r e t c h the b a n d u p w i t h y o u r left
h a n d as l o n g as y o u k e e p the d p of y o u r r i g h t m i d d l e f i n g e r h i d d e n a n d
y o u r r i g h t f i n g e r s p r e s s e d d g h t l y together.

T o c a u s e the b a n d to a p p a r e n t l y p e n e t r a t e t h r o u g h y o u r f i n g e r , p u l l u p
o n it b y r a i s i n g y o u r left h a n d s l i g h t l y . T h e n w i g g l e y o u r r i g h t h a n d
f r o m s i d e to s i d e , recite a m y s d c i n c a n t a t i o n if y o u l i k e , a n d s p r e a d y o u r
right fingers apart a little. The b a n d w i l l s p r i n g u p w a r d s f r o m between
y o u r r i g h t f i n g e r s . W i t h the b a n d n o w r u n n i n g a r o u n d t h e t i p s of y o u r
left t h u m b a n d i n d e x f i n g e r a b o v e y o u r r i g h t h a n d , it a p p e a r s to h a v e
penetrated y o u r right m i d d l e finger. I u s u a l l y repeat this penetration,
b e c a u s e it h a p p e n s so s u d d e n l y that v e r y f e w p e o p l e a r e p r e p a r e d f o r it.

A f t e r y o u ' v e d o n e this t w i c e , offer to let y o u r s p e c t a t o r s see w h a t it l o o k s

l i k e f r o m the o t h e r side of y o u r h a n d . A g a i n , p l a c e the b a n d a r o u n d y o u r
r i g h t m i d d l e f i n g e r as y o u d i d b e f o r e . H o w e v e r , t h i s t i m e w h e n y o u
s t r e t c h the b a n d u p , p o i n t y o u r r i g h t f i n g e r t i p s to t h e l e f t a n d h o l d the
b a n d b e t w e e n the t i p s o f y o u r l e f t t h u m b a n d i n d e x f i n g e r s o t h a t the
f o r k of y o u r left t h u m b i s f a c i n g y o u ( F i g u r e 7). T h e b a n d s h o u l d o n c e
a g a i n be as far b a c k o n y o u r r i g h t m i d d l e f i n g e r as p o s s i b l e .

T h i s t i m e d o n ' t c l o s e y o u r r i g h t h a n d i n t o a fist b u t d o p r e s s i t s f i n g e r s
t i g h t l y together. P u l l the b a n d u p a b o u t six i n c h e s a b o v e the b a c k of y o u r
r i g h t h a n d . W i t h o u t r e l e a s i n g the p r e s s u r e b e t w e e n y o u r r i g h t f i n g e r s ,
t u r n y o u r r i g h t h a n d p a l m u p . I n d o i n g so, start b y t i l t i n g i t s f i n g e r t i p s
u p t o w a r d y o u r left t h u m b a n d i n d e x f i n g e r a n d i n s e r t i n g y o u r r i g h t
m i d d l e f i n g e r t i p b e t w e e n the s t r a n d s of the b a n d . T u r n y o u r left h a n d , as
n e c e s s a r y , to p r e v e n t the s t r a n d s f r o m b e c o m i n g c r o s s e d ( F i g u r e 8).

O n c e y o u r r i g h t h a n d is p a l m u p , y o u r left h a n d s h o u l d s t i l l b e a b o v e it
h o l d i n g the b a n d ( F i g u r e 9). T h e s t r a n d s of t h e b a n d a r e h i d d e n b e l o w
y o u r r i g h t h a n d , r u n n i n g a l o n g e i t h e r s i d e of y o u r r i g h t m i d d l e f i n g e r
f r o m a spot n e a r its t i p a l l the w a y to its b a s e . T h e b a n d w o u l d a p p e a r to
b e l o o p e d u n d e r y o u r r i g h t m i d d l e f i n g e r n e a r the f i r s t j o i n t f r o m its t i p
if it w e r e n o t f o r t h a t t e l l t a l e s e c t i o n o f t h e b a n d v i s i b l e at i t s b a s e . T o
e f f e c t i v e l y c o v e r t h a t a n d c o n v e y the c o r r e c t i m p r e s s i o n , rest the t i p of
y o u r r i g h t t h u m b o n the f o r k b e t w e e n y o u r r i g h t i n d e x a n d m i d d l e
f i n g e r s ( F i g u r e 10). W i t h y o u r r i g h t f i n g e r s p o i n t e d s l i g h t l y to the left,
y o u r l e f t t h u m b w i l l p r o v i d e t h e n e c e s s a r y c o v e r to h i d e t h i s t e l l t a l e
section of the b a n d .

T h i s penetration looks a little different f r o m the p r e v i o u s one. T o

p e r f o r m t h i s o n e , p u l l the b a n d t o w a r d y o u r r i g h t w r i s t w i t h y o u r left
h a n d as y o u a l l o w it to s l o w l y s l i p b e t w e e n y o u r f i n g e r s . Y o u w a n t to
m a k e it l o o k l i k e the b a n d is s l i d i n g a l o n g u n d e r n e a t h y o u r r i g h t m i d d l e
f i n g e r . A s it a p p r o a c h e s y o u r r i g h t t h u m b , a l l o w the t i p of y o u r t h u m b to
e n t e r b e t w e e n the s t r a n d s . T h e n c o n t i n u e p u l l i n g u n t i l the b a n d i s f r e e d
f r o m y o u r r i g h t m i d d l e f i n g e r a n d t r a p p e d i n the f o r k of y o u r t h u m b . A t
t h i s p o i n t , m o v e y o u r r i g h t t h u m b a w a y f r o m y o u r p a l m to d i s p l a y the
b a n d a n d p r e p a r e to receive y o u r w e l l - e a r n e d a c c o l a d e s .

H o r n i n g i n ( M L ) : W h e n D a n s h o w e d m e the first p e n e t r a t i o n o v e r a y e a r
a g o , I w a s i m p r e s s e d . T h e n w h e n I l e a r n e d of the s e c o n d o n e just b e f o r e
g o i n g to p r e s s w i t h t h i s i s s u e , I w a s e v e n m o r e i m p r e s s e d . T a k e n
together, they m a k e for a n o t h e r o n e of h i s a m a z i n g r u b b e r b a n d e f f e c t s . *
 FROM THE LABYRINTH
M L : S o m e of y o u m i g h t h a v e n o t i c e d s e v e r a l r e f e r e n c e s to the 6 F
c o n v e n d o n t h r o u g h o u t this issue. S o y o u m a y b e s a y i n g to y o u r s e l f , ' I ' v e
h e a r d of the 4F c o n v e n t i o n . T h a t ' s F e c h t e r ' s F i n g e r F l i c k i n g F r o l i c .
THE MINOTAUR W h a t ' s this 6F s t u f f ? " W e l l , the r e n o w n e d m a g i c b a r a n d restaurant
"Half Bull, Half Magic" k n o w as the F o r k s H o t e l , l o c a t e d i n B u f f a l o , N e w Y o r k , r e c e n t l y c l o s e d
M a r v Leventhal its d o o r s . T h a t m e a n t that after years a n d y e a r s of h o l d i n g the 4F
Editor-in-Chief c o n v e n d o n there, this y e a r ' s c o n v e n d o n w o u l d h a v e to f i n d a n e w h o m e .
A s a result, this year's 4 F c o n v e n t i o n w a s a c t u a l l y the First Forkless
Dan Harlan Fechter's Finger F l i c k i n g Frolic, or 6F convention.
Creative G e n i u s & Illustrator

N o w D a n a n d I h a v e o n o c c a s i o n e n t e r t a i n e d the i d e a o f p u t t i n g o u t a
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THE MINOTAUR
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essays, c o m m e n t s , anecdotes, fan m a i l ,
etc., and m a g i c a l r a m b l i n g s i n general) Y o u see, a f t e r the 6 F c o n v e n t i o n w a s o v e r l a s t A p r i l , D a n a n d I g o t to
are not o n l y welcome, but encouraged i n t a l k i n g a n d t h o u g h t it m i g h t b e n i c e to s o m e h o w c o m m e m o r a t e t h i s
order to assure the future viability of this o n e - t i m e - o n l y e v e n t ( n e x t y e a r i t ' s b a c k to 4 F ) . S o to u s h e r i n t h e n e w
fine p u b l i c a t i o n . Y o u r s u b m i s s i o n s w i l l F o r k l e s s e r a , w e d e c i d e d to p u t o u t t h i s i s s u e c o n t a i n i n g o n l y
be returned if a self-addressed, stamped contributions f r o m 6F attendees. That's right! G a r y Plants, B o b Rees,
envelope is included. A n t h o n y L i n d a n , Eric W o l f , D a n H a r l a n , a n d I w e r e a l l there for w h a t I
t h i n k w a s the best F e c h t e r ' s c o n v e n t i o n I've h a d the p l e a s u r e of
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may be reproduced, i n any form, by any
the w i d e v a r i e t y of m a g i c y o u ' v e c o m e to e x p e c t f r o m T H E M I N O T A U R .
m e a n s , be it e l e c t r o n i c , m e c h a n i c a l ,
p h o t o c o p y i n g , or even a p e n c i l w i t h o u t
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In a d d i t i o n , t h e m a n u f a c t u r i n g a n d u n e n v i a b l e t a s k o f f i n d i n g the n e w l o c a t i o n f o r t h e 6 F c o n v e n t i o n , b u t
commercial rights for all items contained f i n d o n e h e d i d . B u f f a l o ' s A b b o t t S q u a r e B r e w P u b p r o v e d to b e a t e r r i f i c
herein are reserved b y their contributors s e t t i n g for this t i m e - h o n o r e d g a t h e r i n g o f c l o s e - u p a f i c i o n a d o s .
and T H E M I N O T A U R .
O k a y , so t h i s i s s u e c o m m e m o r a t e s the 6 F c o n v e n t i o n . T h a t m e a n s t h a t
Advertising: W r i t e to T H E M I N O T A U R s o m e d a y this issue w i l l p r o b a b l y be a true collector's i t e m , a n d that
for a d v e r t i s i n g i n f o r m a t i o n . Please be m e a n s that s o m e d a y it w i l l n o d o u b t b e v e r y , v e r y v a l u a b l e . I n fact, i t ' s
s u r e to i n c l u d e a t e l e p h o n e n u m b e r p r o b a b l y i n c r e a s i n g i n v a l u e as y o u ' r e r e a d i n g t h i s . T h o s e o f y o u s h r e w d
where y o u can be reached.
e n o u g h to r e a l i z e t h i s fact m i g h t w a n t to c o n s i d e r b u y i n g s e v e r a l m o r e
c o p i e s of this i s s u e just for i n v e s t m e n t p u r p o s e s .
THE MINOTAUR
C o p y r i g h t 1992
by M a r v i n J. Leventhal F u r t h e r m o r e , if y o u t h i n k t h i s i s s u e i s v a l u a b l e , t h i n k h o w v a l u a b l e a
& Daniel D . H a r l a n c o m p l e t e f i l e of T H E M I N O T A U R w i l l b e . T h e o n l y r e a s o n I b r i n g t h i s
A l l Rights Reserved u p , b e s i d e s w a n d n g to s e l l m o r e m a g a z i n e s , i s to let a l l t h o s e w h o h a v e
Printed i n the U . S . A . i n q u i r e d a b o u t the a v a i l a b i l i t y of b a c k i s s u e s k n o w t h a t as of the
6/92-16 p u b l i c a t i o n o f t h i s i s s u e , a l l b a c k i s s u e s a r e s t i l l a v a i l a b l e , b u t o n l y as
c o m p l e t e v o l u m e s , at t h e l o w p e r v o l u m e r a t e o f $ 1 8 i n t h e U . S . a n d
C a n a d a a n d $26 e v e r y w h e r e else. R e m e m b e r , U . S . f u n d s o n l y p l e a s e >
 THE
INHTAUR
'HALF BULL, H A L F MAMIL"
© C o p y r i g h t 1992 b y M a r v i n J. L e v e n t h a l & D a n i e l D . H a r l a n S e p t e m b e r 1992 / $5.00

Hiro Sakai's
INVISIBLE SLIT D H : O n e of the best p a r t s of a t t e n d i n g m a g i c c o n v e n t i o n s i s the p e o p l e I
get to m e e t . I ' m e s p e c i a l l y i m p r e s s e d w h e n I m e e t a s k i l l e d p e r f o r m e r
w h o n o t o n l y creates n e w effects, b u t is a l s o a b l e to s i m p l i f y a n e x i s t i n g
i d e a w i t h o u t e l i m i n a t i n g a n y of its d e c e p t i v e n e s s . H i r o S a k a i
( p r o n o u n c e d "hero s u c k - e y e , " w i t h the accent o n the " e y e " ) is s u c h a
p e r f o r m e r . H e is a t w e n t y - s e v e n y e a r o l d m a g i c i a n f r o m J a p a n w h o has
c r e a t e d m a n y o r i g i n a l effects, i n c l u d i n g this o n e .

F o r t u n a t e l y f o r a l l of u s , H i r o is the k i n d of p e r s o n w h o e n j o y s s h a r i n g
his k n o w l e d g e w i t h others. M o r e fortunately for M a r v a n d me, w e were
the o t h e r s he c h o s e to s h a r e t h i s effect w i t h . L u c k y f o r y o u , M a r v a n d I
a r e n ' t s e l f i s h either, b e c a u s e Invisible Slit is w e l l w o r t h s h a r i n g .

T h e b a s i c effect i s the a p p a r e n t s l i c i n g o p e n of a b i l l w i t h a k n i f e a n d its

s u b s e q u e n t r e s t o r a t i o n . T h i s is b y n o m e a n s a n e w p r e m i s e . In fact, H i r o
w a s i n s p i r e d b y Y o s h i o H i r o s e ' s e f f e c t c a l l e d The Invisible Hole, w h i c h
a p p e a r e d i n the M a r c h 1985 i s s u e of Apocalypse. T h a t v e r s i o n r e q u i r e d
y o u to c u t a s m a l l s l i t i n the b i l l , w h i c h r e s t r i c t e d y o u to p e r f o r m i n g it
w i t h y o u r o w n b i l l . H i r o e l i m i n a t e d the s l i t ( h e n c e t h e e f f e c t ' s title), t h u s
m a k i n g his h a n d l i n g completely u n g i m m i c k e d a n d performable w i t h a
b o r r o w e d b i l l . It's v e r y c o n v i n c i n g , y e t q u i t e e a s y to d o . T h e secret i s the
m a n n e r i n w h i c h the b i l l is f o l d e d .

T o p e r f o r m , b o r r o w a b i l l a n d h o l d it face u p at a b o u t t h e c e n t e r of its
l o n g edges between both hands w i t h y o u r t h u m b s o n top a n d fingers
b e l o w ( F i g u r e 1). W h i l e h o l d i n g the b i l l i n t h i s p o s i d o n , f o l d it i n h a l f b y
b r i n g i n g y o u r i n d e x f i n g e r s o u t f r o m u n d e r the b i l l o n t o p o f the b i l l ' s
o u t e r h a l f . W i t h y o u r i n d e x f i n g e r s , p r e s s d o w n a n d t h e n i n w a r d o n the
o u t e r h a l f to b r i n g it u n d e r t h e b i l l ' s i n n e r h a l f . T h e n c r e a s e t h e f o l d
s l i g h t l y a s k e w so that o n l y three of the f o u r c o r n e r s of the b i l l are v i s i b l e
( F i g u r e 2). T h e left i n n e r c o r n e r of the n o w l o w e r h a l f s h o u l d e x t e n d to

T w i c e as C r a z y 3
1
N Squeezed A w a y 4
S Stutter C o u n t 8
1
i Match Cube Gizmo 10

D
E F r o m the L a b y r i n t h 12
the left p a s t the left e d g e of the u p p e r h a l f f o r a b o u t h a l f a n i n c h . T h i s i s
i n t e n d o n a l s i n c e the i n n e r r i g h t h i d d e n c o r n e r o f t h e l o w e r h a l f w i l l be
secredy relocated m o m e n t a r i l y .

B e f o r e p r o c e e d i n g , s h o w the f o l d e d b i l l o n b o t h s i d e s to f a m i l i a r i z e y o u r
s p e c t a t o r s w i t h its c o n d i d o n . T h e n r e t u r n the b i l l a n d y o u r h a n d s to their
p r e v i o u s p o s i t i o n . N o w s l i d e y o u r left h a n d b a c k t o w a r d y o u a l o n g the
b i l l a n d g r i p it b e t w e e n y o u r l e f t t h u m b a n d i n d e x f i n g e r at t h e p o i n t
w h e r e its l o w e r s h o r t e d g e d i s a p p e a r s b e n e a t h its u p p e r h a l f . Y o u r r i g h t
t h u m b a n d i n d e x finger h o l d the b i l l ' s o u t e r r i g h t c o r n e r ( F i g u r e 3).

Rotate the b i l l c l o c k w i s e u n t i l y o u r h a n d s are d i r e c t l y o p p o s i t e one

a n o t h e r a n d p o s i t i o n y o u r m i d d l e f i n g e r t i p s a l o n g the h i d d e n e d g e s of
the b i l l ' s l o w e r half. U s i n g y o u r m i d d l e f i n g e r t i p s , b e g i n f o l d i n g the
l o w e r h a l f a l o n g t h e i m a g i n a r y l i n e r u n n i n g b e t w e e n y o u r h a n d s just
b e l o w y o u r t h u m b s ( F i g u r e 4). If y o u w e r e to t u r n y o u r h a n d s p a l m
d o w n at t h i s p o i n t ( w h i c h y o u s h o u l d n ' t d o d u r i n g y o u r p e r f o r m a n c e
u n l e s s y o u w a n t to g i v e a w a y h o w i t ' s d o n e ) , y o u ' d see t h e f o l d i n g
a c t i o n d e p i c t e d i n F i g u r e 5, w h i c h w h e n c o m p l e t e d w o u l d l o o k as s h o w n
i n F i g u r e 6. Be c a r e f u l n o t to a l l o w the h i d d e n c o r n e r to e x t e n d b e y o n d
a n y e d g e of the b i l l w h e n m a k i n g this secret f o l d .

O n c e t h i s f o l d i n g p r o c e d u r e is c o m p l e t e d , w h i c h t a k e s o n l y a m o m e n t ,
f o l d a s m a l l p i e c e of p a p e r o v e r t h e f o l d e d e d g e o f the b i l l . T h e p a p e r
s h o u l d not be as w i d e as the b i l l to a l l o w the b i l l to b e s e e n e x t e n d i n g o u t
f r o m u n d e r b o t h s i d e s of the p a p e r ( F i g u r e 7). I u s e m y b u s i n e s s c a r d ,
w h i c h I f i n d to be just the right size.

N o w h o l d the b i l l a n d the p a p e r w i t h just y o u r left h a n d . W i t h y o u r r i g h t

h a n d i n s e r t the b l a d e of a p o c k e t k n i f e b e t w e e n the l a y e r s of the b i l l as
s h o w n i n F i g u r e 8. T h e p o i n t of t h e k n i f e i s a n g l e d to t h e l e f t a n d the
s h a r p s i d e of the b l a d e i s t o w a r d the r i g h t . Y o u w a n t the t i p of the k n i f e
to be a b o u t a n i n c h b a c k f r o m the o u t e r v i s i b l e f o l d e d e d g e of the b i l l .

T o i n s e r t the k n i f e f u r t h e r i n t o the b i l l , p i v o t its p o i n t to the r i g h t w h i l e

k e e p i n g the e n d o f its h a n d l e at a b o u t the s a m e p o s i t i o n . P i v o t u n t i l the
t i p of the k n i f e s l i p s s e c r e t l y p a s t the h i d d e n f o l d a n d o n t o t h e p a p e r
b e l o w the b i l l ( F i g u r e 9, n e x t p a g e ) . A s s o o n as t h i s h a p p e n s , p u s h the
k n i f e f o r w a r d u n t i l it c o n t a c t s the c e n t e r o f the f o l d e d p a p e r . A l t h o u g h
the k n i f e is n o w b e l o w the b i l l , y o u r s p e c t a t o r s w i l l t h i n k it is s t i l l
b e t w e e n the l a y e r s of the b i l l .

F o r c e the p o i n t of the k n i f e t h r o u g h the p a p e r ( a n d s u p p o s e d l y the b i l l as

w e l l ) , p a u s e f o r just a m o m e n t to a l l o w y o u r s p e c t a t o r s to see w h a t has
o c c u r r e d , a n d t h e n slit the p a p e r o p e n b y s l i d i n g the k n i f e d i r e c t l y to the
r i g h t . It w i l l a p p e a r as t h o u g h the b i l l h a s b e e n c u t . A s y o u u n f o l d the
p a p e r a n d the b i l l , use y o u r left f i n g e r s f r o m b e l o w to s t r a i g h t e n o u t the
secret f o l d . T h e n m a s s a g e the b i l l to a p p a r e n t l y r e s t o r e it a n d a l s o to h i d e
a n y telltale creases. F i n a l l y , r e t u r n the b i l l to its rightful o w n e r a n d enjoy
the r e c o g n i t i o n a f f o r d e d a p e r f o r m e r of s u c h i n t e r n a t i o n a l m i r a c l e s .

H o r n i n g i n : W h e n H i r o s h o w e d m e t h i s , I d i d n ' t h a v e a n y i d e a h o w it
w a s done, a n d I h a d been w o r k i n g o n s i m i l a r b i l l penetrations for years
(see Now U Z It f r o m V o l u m e 1, N u m b e r 4 o f T H E M I N O T A U R ) . T h e
s t r o n g e s t p a r t of H i r o ' s p r e s e n t a t i o n is the s u b t l e p s y c h o l o g i c a l i m a g e of
the k n i f e b e i n g c l e a r l y i n s e r t e d b e t w e e n the l a y e r s o f the b i l l . Be s u r e to
p a u s e f o r a m o m e n t b e f o r e y o u r o t a t e the p o i n t o f the k n i f e a l l the w a y
i n s i d e the f o l d e d b i l l to a l l o w this i m a g e to s i n k i n .
 A l s o , m a k e a l l of y o u r a c t i o n s s l o w l y a n d d e l i b e r a t e l y , s i n c e there is
a l m o s t n o t h i n g to h i d e . A s I w a t c h e d H i r o , I w a s s u b c o n s c i o u s l y w a i d n g
f o r h i m to d o "the m o v e . " I k e p t w a t c h i n g a n d w a i t i n g , b u t t h e r e w a s n o
m o v e to be seen. F o r a m o m e n t , I t h o u g h t he h a d r e a l l y p u s h e d the k n i f e
through m y bill.

I h a v e t r i e d p e n e t r a t i n g the b i l l w i t h o b j e c t s o t h e r t h a n a k n i f e ( l i k e a
p e n c i l , for instance), b u t the s l i t t i n g a c t i o n of the k n i f e is m u c h m o r e
e f f e c t i v e t h a n a n y t h i n g else I've t r i e d . A s I m e n t i o n e d b e f o r e , I w r a p m y
b u s i n e s s c a r d i n s t e a d of a p i e c e of p a p e r a r o u n d the e n d o f the b i l l . S i n c e
I f o l d m y c a r d o f f c e n t e r , a n d it h a s n o i m p o r t a n t i n f o r m a t i o n i n t h a t
p a r t i c u l a r spot, I c a n g i v e it to a spectator at the c o n c l u s i o n o f the effect. I
e x p l a i n d u r i n g m y p e r f o r m a n c e that m y c a r d h a s m a g i c i n it a n d that it
p r o t e c t s the m o n e y . M y s p e c t a t o r s a r e a l w a y s r e l i e v e d to f i n d that I ' m
correct. T h a n k s to H i r o , I ' m their h e r o , a n d n o w y o u c a n b e a h e r o t o o . *

David Neighbors^ =
TWICE AS CRAZY
D H : J u s t i f i a b l y l a b e l e d a " c o i n w o r k e r , " D a v i d N e i g h b o r s i s o n e o f the
m o s t c r e a t i v e a n d p r o f e s s i o n a l c o i n e x p e r t s i n m a g i c t o d a y . If y o u e v e r
g e t t h e c h a n c e to w a t c h h i m w o r k , b y a l l m e a n s d o s o . Y o u w i l l
u n d o u b t e d l y be impressed b y both his versatility a n d seemingly endless
s u p p l y of fantastic m a t e r i a l , s o m e of w h i c h has a p p e a r e d i n p r e v i o u s
i s s u e s o f T H E M I N O T A U R . H o w e v e r , D a v i d i s just as a d e p t at c r e a t i n g
n e w effects a n d h a n d l i n g s w i t h i t e m s o t h e r t h a n c o i n s . S u c h i s the case
h e r e . So p u t a s i d e y o u r c h a n g e p u r s e a n d g r a b a c o u p l e o f r u b b e r b a n d s ,
b e c a u s e that's a l l y o u ' l l n e e d to l e a r n D a v i d ' s latest o f f e r i n g .

If y o u a r e a l r e a d y f a m i l i a r w i t h The Uncanny Penetrating Rubber Bands

f o u n d i n The Tarbell Course in Magic Volume 7 ( a l s o k n o w n as The Crazy
Man's Handcuffs i n M i c h a e l A m m a r ' s h a n d l i n g , o r m o s t o f t e n " t h a t
r u b b e r b a n d t r i c k C o p p e r f i e l d d i d i n h i s C h i n a s p e c i a l " ) , t h e n the
f o l l o w i n g d e s c r i p t i o n s h o u l d be f a i r l y e a s y to f o l l o w . If y o u ' r e u n f a m i l i a r
w i t h it, this m a y p r o v e a little m o r e d i f f i c u l t . H o w e v e r i n either case,
Twice as Crazy w i l l p r o v i d e y o u w i t h a n i n t e r e s t i n g t w i s t o n the o r i g i n a l .

A s s u m i n g y o u a r e r e a d y to t r y D a v i d ' s i d e a , s t r e t c h o n e o f the r u b b e r
b a n d s (size 19's w o r k n i c e l y ) a r o u n d y o u r left t h u m b a n d i n d e x f i n g e r ,
w h i c h are s p r e a d a p a r t as if f o r m i n g the letter " c . " S t r e t c h the o t h e r b a n d
l i k e w i s e a r o u n d y o u r r i g h t t h u m b a n d i n d e x f i n g e r , b u t as y o u d o so,
c o n t r i v e to i n t e r l o c k the b a n d s b e h i n d o n e a n o t h e r ( F i g u r e 1). T h i s is the
n o w classic d i s p l a y p o s i t i o n f o r the p e n e t r a t i n g r u b b e r b a n d s .

L e t ' s say that y o u h a v e a l r e a d y c a u s e d the b a n d s to p e n e t r a t e e a c h o t h e r

o n c e , a n d y o u w a n t to p e r m a n e n t l y a l t e r y o u r a u d i e n c e ' s p e r c e p t i o n of
r e a l i t y b e f o r e t h e y h a v e a c h a n c e to r e c o v e r . E x p l a i n that y o u w i l l c a u s e
the b a n d s to p a s s t h r o u g h o n e a n o t h e r a g a i n , b u t t h i s t i m e , to m a k e it
e a s i e r to f o l l o w , y o u ' l l d o i t o n e s t r a n d at a t i m e . A s y o u f i n i s h s a y i n g
t h i s , b e g i n to m o v e y o u r h a n d s a w a y f r o m o n e a n o t h e r , c a u s i n g e a c h
b a n d to stretch a g a i n s t the c e n t e r o f the o t h e r . E x t e n d y o u r i n d e x f i n g e r s
a n d t h u m b s to p r e v e n t the b a n d s f r o m s l i p p i n g o f f ( F i g u r e 2). A l s o , p l a c e
the tip of y o u r right m i d d l e f i n g e r a g a i n s t the b a n d r u n n i n g a r o u n d y o u r
r i g h t i n d e x f i n g e r , t h u s t r a p p i n g the b a n d b e t w e e n t h o s e f i n g e r s .

N o w p e r f o r m the f o l l o w i n g t h r e e a c t i o n s s i m u l t a n e o u s l y . 1) C o n t i n u e to
 m o v e y o u r h a n d s a p a r t just a b i t m o r e , 2) b e g i n t o rotate y o u r r i g h t h a n d
a w a y f r o m y o u at the w r i s t to a p a l m u p p o s i t i o n , a n d 3) b r i n g y o u r right
i n d e x f i n g e r d o w n t o w a r d the p a d o f y o u r r i g h t t h u m b ( F i g u r e 3,
p r e v i o u s p a g e ) . Y o u r i n d e x f i n g e r w i l l s l i p o u t o f the l o o p o f the r u b b e r
b a n d a r o u n d it, b u t y o u r m i d d l e f i n g e r w i l l k e e p the b a n d i n p l a c e .

A s y o u c o n t i n u e t o rotate y o u r r i g h t h a n d , i n s e r t y o u r r i g h t i n d e x f i n g e r
i n t o the l o o p a r o u n d y o u r r i g h t t h u m b t h r o u g h t h e s i d e o p p o s i t e t h e tip
of y o u r r i g h t t h u m b ( F i g u r e 4). O n c e y o u r i n d e x f i n g e r i s w i t h i n the l o o p ,
s t r a i g h t e n y o u r r i g h t i n d e x a n d m i d d l e f i n g e r s to t h e i r p r e v i o u s
extended position while maintaining pressure o n the band clipped
b e t w e e n t h e m — n o s m a l l feat i n a n d o f i t s e l f ( F i g u r e 5 ) . T h e s e a c t i o n s
s h o u l d b e c o m p l e t e d as y o u r r i g h t h a n d f i n i s h e s r o t a t i n g p a l m u p . A t the
s a m e time, r o t a t e y o u r left h a n d t o w a r d y o u at t h e w r i s t u n t i l y o u r left
t h u m b is d i r e c t l y b e l o w y o u r left i n d e x f i n g e r .

By straightening y o u r right index and m i d d l e fingers without releasing

the c l i p p e d b a n d , t h r e e s t r a n d s o f t h e b a n d w i l l c o a l e s c e i n t o a c l u m p
r u n n i n g f r o m b e t w e e n y o u r right i n d e x a n d m i d d l e f i n g e r s to t h e center
of y o u r left h a n d ' s r u b b e r b a n d . T h i s three b a n d c l u m p w i l l pass
m o m e n t a r i l y , b u t o n l y m o m e n t a r i l y , for a s i n g l e s t r a n d ( F i g u r e 6).

A t this p o i n t it s h o u l d a l r e a d y l o o k a s i f o n e s t r a n d o f y o u r r i g h t h a n d ' s
b a n d h a s penetrated b o t h s t r a n d s o f y o u r left h a n d ' s b a n d ( F i g u r e 6
a g a i n ) . P a u s e here o n l y b r i e f l y a s y o u s a y , ' T h a t ' s o n e . " A s y o u s a y t h i s ,
y o u can also tap the single strand r u n n i n g between y o u r right t h u m b
a n d i n d e x finger w i t h y o u r left m i d d l e f i n g e r t i p f o r e m p h a s i s , i f y o u l i k e .

T h e n m o v e y o u r r i g h t h a n d a w a y f r o m y o u r left h a n d just a little b i t

more, releasing the clipped band f r o m between y o u r right index and
m i d d l e fingers as y o u d o s o . Y o u r r i g h t h a n d ' s b a n d w i l l s n a p free of
y o u r left h a n d ' s b a n d w h i l e still r e m a i n i n g l o o p e d a r o u n d y o u r r i g h t
t h u m b a n d i n d e x f i n g e r ( F i g u r e 7) — a v e r y v i s u a l p e n e t r a t i o n . S a y ,
' T h a t ' s t w o , " as y o u d i s p l a y the t w o separate b a n d s .

H o r n i n g i n : I r e a l l y d o n ' t feel t h e n e e d to a d d a n y t h i n g , e x c e p t p e r h a p s
to s a y that I l i k e D a v i d ' s h a n d l i n g s o m u c h , I d o i t e v e r y t i m e I ' m a s k e d
to d o the s t a n d a r d p e n e t r a t i o n effect. It n e v e r fails t o s u r p r i s e spectators,
b e t h e y l a y m e n o r m a g i c i a n s . It m a k e s for a v e r y n i c e f o l l o w - u p that s t i l l
m a n a g e s to r e t a i n t h e s p i r i t o f the o r i g i n a l . ^

Troy Hooser's ^^===^==^^=========^=z

SQUEEZED AWAY
M L : A b o u t a year ago, Troy s h o w e d m e a h a n g i n g coin routine he had
come u p w i t h . I wanted it for T H E M I N O T A U R , b u t unfortunately for
D a n a n d m e , h e s h o w e d i t to T o m C r a v e n first. I s a y u n f o r t u n a t e l y o n l y
because T o m , o b v i o u s l y k n o w i n g g o o d m a g i c w h e n h e sees it,
i m m e d i a t e l y snatched it u p for his m o n t h l y " H a v e n l y C l o s e - u p " c o l u m n
i n The Linking Ring. S o w i t h i t s a p p e a r a n c e t h e r e i n t h e D e c e m b e r 1991
i s s u e , T H E M I N O T A U R ' S loss t u r n e d i n t o The Linking Ring's g a i n .

N o t b e i n g o n e t o t a k e t h i s sort o f t h i n g l i g h t l y , I i m m e d i a t e l y i m p l o r e d
T r o y to g i v e T H E M I N O T A U R first d i b s o n h i s n e x t c r e a t i o n . N o t b e i n g
o n e w h o l i k e s t o see a g r o w n m a n b e g ( f o r t o o l o n g ) , T r o y o b l i g e d m e
w i t h Squeezed Away. A l t h o u g h s o m e w h a t r e m i n i s c e n t o f h i s " H a v e n l y
 C l o s e - u p " c o n t r i b u t i o n , T r o y h a s a l t e r e d its effect s l i g h t l y a n d e m p l o y e d
a t o t a l l y d i f f e r e n t , a n d I m i g h t a d d v e r y c l e v e r , m e t h o d to c o m e u p w i t h
Squeezed Away.

I n p e r f o r m a n c e , h e r e ' s w h a t y o u r a u d i e n c e sees. Y o u t a k e three half

d o l l a r s o u t of a c o i n p u r s e a n d h o l d t h e m at the f i n g e r d p s o f y o u r r i g h t
h a n d . Y o u t h e n t a k e o n e of t h e c o i n s i n t o y o u r l e f t f i s t , g i v e i t a s l i g h t
s q u e e z e , a n d the c o i n m a g i c a l l y v a n i s h e s . T h e s e c o n d a n d t h i r d c o i n s
similarly vanish. T h u s , i n a very direct m a n n e r , y o u v a n i s h three coins,
a n d best of a l l , y o u e n d c o m p l e t e l y c l e a n .

A l t h o u g h y o u m i g h t e x p e c t a m i r a c l e o f t h i s m a g n i t u d e to r e q u i r e s o m e
h e a v y d u t y sleight of h a n d , t w o t h i r d s of the effect are t o t a l l y
m e c h a n i c a l , a n d the o t h e r t h i r d r e q u i r e s o n l y a m i n i m a l a m o u n t o f s k i l l .
T h i s is d u e to the i n g e n i o u s u d l i z a d o n of t w o g i m m i c k e d c o i n s — a h a l f
dollar shell a n d a half d o l l a r flipper c o i n .

I k n o w y o u k n o w w h a t a shell c o i n is, b u t f o r those of y o u not f a m i l i a r

w i t h a f l i p p e r c o i n , it l o o k s l i k e a n o r d i n a r y h a l f d o l l a r f r o m t h e h e a d
s i d e . H o w e v e r , v e r y close s c r u d n y o f its t a i l s i d e w i l l r e v e a l it to a c t u a l l y
b e a s h e l l c o i n w i t h a t w o p i e c e i n s e r t i n i t . T h e i n s e r t i s the t a i l s i d e of a
h a l f d o l l a r c a r e f u l l y c u t i n t o t w o p i e c e s a l o n g the t o p o f the w i n g s of the
e a g l e a n d t h e t o p e d g e o f t h e " E P l u r i b u s U n u m " b a n n e r a b o v e the
e a g l e ' s h e a d ( F i g u r e 1, p r e v i o u s page).

L i k e a f o l d i n g half d o l l a r , the insert has a r u b b e r b a n d r u n n i n g i n a

g r o o v e a r o u n d its c i r c u m f e r e n c e h o l d i n g the p i e c e s t o g e t h e r . H o w e v e r ,
the s m a l l e r p i e c e i s g l u e d i n p l a c e i n t h e s h e l l , w h i l e t h e l a r g e r p i e c e
r e m a i n s i n p l a c e s o l e l y d u e to the t e n s i o n o f the r u b b e r b a n d . B y s h a k i n g
the c o i n , the l a r g e r p i e c e c a n b e f l i p p e d o u t o f t h e s h e l l a n d f o l d e d u p
b e h i n d the s m a l l e r p i e c e ( F i g u r e 2), so that f r o m t h e f r o n t the c o i n l o o k s
like two half dollars.

In a d d i t i o n to a h a l f d o l l a r s h e l l a n d a f l i p p e r c o i n , y o u ' l l a l s o n e e d to b e
w e a r i n g a suit coat o r s p o r t coat that has p o c k e t s o n the s i d e s to p e r f o r m
t h i s effect. If the p o c k e t s h a v e f l a p s o v e r t h e m , t u c k t h e f l a p s i n s i d e the
p o c k e t s . Y o u ' l l a l s o n e e d a t i n y p i e c e o f p l a s t i c a d h e s i v e , k n o w n as
f u n - t a k o r b l u - t a c , or soft m a g i c i a n ' s w a x a n d a s m a l l c o i n p u r s e .

T o h e l p c l a r i f y t h i n g s , f r o m here o n i n I ' l l refer to the s m a l l e r p i e c e of the

f l i p p e r c o i n i n s e r t as the s m a l l i n s e r t , the l a r g e r p i e c e as the l a r g e i n s e r t ,
a n d the s h e l l p o r t i o n o f the f l i p p e r c o i n as t h e f l i p p e r s h e l l . T h e o t h e r
s h e l l I ' l l refer to as just the p l a i n s h e l l . A s f o r t h e t w o s i d e s of the s h e l l s ,
I ' l l refer to the s i d e o f the s h e l l that l o o k s l i k e a c o i n as the f r o n t a n d the
s i d e that's h o l l o w e d - o u t as the b a c k .

T o p r e p a r e , p l a c e the f u n - t a k o r w a x just i n s i d e the rim o n the b a c k of the

p l a i n s h e l l ( F i g u r e 3). T h e n s h a k e the f l i p p e r c o i n o p e n a n d i n s e r t o n e
e d g e o f the p l a i n s h e l l b e t w e e n the f l i p p e r s h e l l a n d t h e l a r g e i n s e r t so
t h a t the l a r g e i n s e r t r e s t s a g a i n s t t h e r i m o f t h e b a c k o f t h e p l a i n s h e l l
( F i g u r e 4). T o c o m p l e t e y o u r p r e p a r a t i o n , p l a c e t h e c o i n s i n t h e c o i n
p u r s e a n d p l a c e the p u r s e i n a c o n v e n i e n t p o c k e t .

T o p e r f o r m , b r i n g o u t the p u r s e , o p e n it, a n d r e a c h i n t o it w i t h y o u r r i g h t
h a n d so that the f a c e s o f b o t h the f l i p p e r s h e l l a n d t h e p l a i n s h e l l rest
a g a i n s t the p a l m s i d e o f y o u r r i g h t f i n g e r s . B e f o r e a c t u a l l y r e m o v i n g the
6 c o i n s f r o m the p u r s e , l e v e r the l a r g e i n s e r t u p a n d b e h i n d the s m a l l insert
w i t h y o u r r i g h t t h u m b ( F i g u r e 5).
N o w b r i n g the t w o c o i n s , w h i c h w i l l l o o k l i k e t h r e e to y o u r a u d i e n c e , o u t
of the p u r s e h e l d b e t w e e n y o u r r i g h t t h u m b a n d i n d e x a n d m i d d l e
f i n g e r s a n d p u t the p u r s e a w a y . U s i n g y o u r left h a n d , r e p o s i t i o n the
p l a i n s h e l l f r o m t h e b a c k o f the f l i p p e r s h e l l t o i t s f a c e so t h a t the p l a i n
s h e l l o v e r l a p s the b o t t o m h a l f o f the f a c e o f the f l i p p e r s h e l l ( F i g u r e 6,
p r e v i o u s page). I n d o i n g so, r e m e m b e r that it l o o k s better i f the c o i n s are
n o t a l i g n e d i n a p e r f e c t l y s t r a i g h t c o l u m n . F i g u r e 7 s h o w s w h a t it s h o u l d
look like f r o m y o u r audience's v i e w .

N o t e the p o s i t i o n s o f y o u r r i g h t t h u m b a n d f i n g e r s i n F i g u r e s 6 a n d 7.
Y o u r t h u m b , w h i c h i s a n g l e d u p a b i t a n d p o i n t i n g to t h e l e f t , r e s t s
a g a i n s t the r i g h t s i d e o f a l l " t h r e e " c o i n s ( F i g u r e 6). Y o u r i n d e x f i n g e r
a l s o rests a g a i n s t a l l " t h r e e " c o i n s ( F i g u r e 7). In t h i s p o s i t i o n the c o i n s are
h e l d i n place b y p i n c h i n g t h e m between just y o u r t h u m b a n d index
finger, although y o u r m i d d l e finger can p r o v i d e some a d d i t i o n a l help.
Y o u a r e n o w r e a d y to v a n i s h the c o i n s o n e at a t i m e . K e e p i n m i n d that
e v e n t h o u g h the m e t h o d u s e d to v a n i s h e a c h c o i n i s d i f f e r e n t , to y o u r
a u d i e n c e the a c t i o n s a c c o m p a n y i n g e a c h v a n i s h s h o u l d l o o k i d e n t i c a l .

Vanish #1: K e e p i n g y o u r r i g h t h a n d f a i r l y s t a t i o n a r y , b r i n g y o u r l e f t
f i n g e r s i n f r o n t o f the c o i n s , f i n g e r s e x t e n d e d t o g e t h e r , p o i n t i n g t o w a r d
the r i g h t , a n d a n g l e d u p s l i g h t l y , u n t i l the t o p " c o i n " (the l a r g e i n s e r t ) is
r e s t i n g at the base o f y o u r left m i d d l e f i n g e r . T h e o t h e r c o i n s s h o u l d rest
at the base of y o u r left r i n g a n d l i t t l e f i n g e r s ( F i g u r e 8). T h e n b e h i n d the
c o v e r p r o v i d e d b y y o u r left f i n g e r s , l e v e r the l a r g e i n s e r t d o w n a n d i n t o
the f l i p p e r s h e l l w i t h y o u left t h u m b ( F i g u r e 9). M o m e n t a r i l y m o v e y o u r
r i g h t t h u m b o u t of t h e w a y a s n e c e s s a r y to f a c i l i t a t e t h i s m a n e u v e r .
H o w e v e r , o n c e the l a r g e i n s e r t i s s a f e l y i n the f l i p p e r s h e l l , m o v e y o u r
r i g h t t h u m b b a c k to its p r e v i o u s p o s i t i o n o n the c o i n s .

N o w m o v e y o u r left h a n d to the l e f t o f y o u r r i g h t h a n d , m a k i n g a f i s t
w i t h y o u r left h a n d as y o u d o s o . T h e i l l u s i o n h e r e i s p e r f e c t . Y o u h a v e
a p p a r e n t l y t a k e n a c o i n f r o m y o u r r i g h t h a n d a n d a r e n o w h o l d i n g it i n
y o u r left fist. T o v a n i s h the c o i n , t a p the t o p of y o u r left fist o n c e w i t h the
b o t t o m " c o i n " i n y o u r r i g h t h a n d ( F i g u r e 10) a n d t h e n m a k e o n e o r t w o
s q u e e z i n g m o t i o n s w i t h y o u r left t h u m b a n d f i n g e r s .

N e x t t u r n y o u r left fist p a l m d o w n a n d o p e n it b y p o i n t i n g y o u r t h u m b
a n d i n d e x f i n g e r t o w a r d y o u r a u d i e n c e , a c t i n g as i f t h e y a r e h o l d i n g a n
i n v i s i b l e c o i n v e r t i c a l l y b e t w e e n t h e m . A t the s a m e t i m e also o p e n u p
y o u r left m i d d l e , r i n g , a n d l i t t l e f i n g e r s s l i g h t l y so that y o u r a u d i e n c e c a n
see the e m p t y p a l m o f y o u r left h a n d ( F i g u r e 11, a u d i e n c e v i e w ) . T h e n
m o v e y o u r left h a n d u p a n d f o r w a r d s l i g h t l y as if y o u w e r e h a n g i n g the
invisible coin in midair.

S h o w t h a t o n l y t w o c o i n s r e m a i n b y t a k i n g the p l a i n s h e l l f r o m y o u r
r i g h t h a n d b e t w e e n the t i p s o f y o u r l e f t t h u m b a n d i n d e x f i n g e r . T u r n
b o t h h a n d s p a l m d o w n to f u r t h e r d i s p l a y t h e c o i n s , a n d e x t e n d the
m i d d l e , r i n g , a n d l i t t l e f i n g e r s o f b o t h h a n d s t o w a r d y o u r a u d i e n c e just
e n o u g h to s h o w b o t h h a n d s e m p t y ( F i g u r e 12, a u d i e n c e v i e w , n e x t page).
If y o u ' r e f e e l i n g a l i t t l e f l o u r i s h y , y o u c a n , i f y o u l i k e , c o m p l e t e t h i s
d i s p l a y b y d o i n g a f i n g e r r o l l w i t h the f l i p p e r c o i n i n y o u r r i g h t h a n d .

Vanish #2: P l a c e the p l a i n s h e l l h e l d b y y o u r left h a n d b a c k o n t o the face

o f the f l i p p e r c o i n a n d h o l d t h e m b e t w e e n y o u r r i g h t t h u m b a n d i n d e x
a n d m i d d l e f i n g e r s as b e f o r e ( m u c h l i k e t h a t s h o w n i n F i g u r e s 6 a n d 7,
e x c e p t n o w there are o n l y t w o c o i n s ) . P r o c e e d as i n V a n i s h #1. H o w e v e r ,
w h e n y o u r l e f t f i n g e r s c o m e i n f r o n t o f the c o i n s to a p p a r e n t l y t a k e the
 s e c o n d c o i n , rest the flipper c o i n at t h e b a s e of y o u r left m i d d l e f i n g e r .
T h e n s l i d e t h e flipper c o i n i n t o t h e p l a i n shell w i t h y o u r right thumb
( F i g u r e 13) a n d s q u e e z e t h e c o i n s t o g e t h e r . T h e f l i p p e r c o i n w i l l be
l o c k e d i n t o the p l a i n s h e l l d u e to the fun-tak or wax.

N o w p r o c e e d a g a i n as i n V a n i s h #1 u n t i l y o u h a v e a c t e d as i f y o u w e r e
h a n g i n g the s e c o n d c o i n i n m i d a i r . A t t h i s p o i n t , i m m e d i a t e l y t u r n y o u r
left h a n d so that y o u r left t h u m b a n d i n d e x f i n g e r p o i n t t o w a r d the r i g h t
a n d t a k e the c o i n f r o m y o u r r i g h t h a n d b e t w e e n t h e t i p s o f y o u r l e f t
t h u m b a n d i n d e x f i n g e r . T u r n y o u r left h a n d i n o r d e r to d i s p l a y the o t h e r
s i d e of the c o i n a n d t h e n r u m it b a c k to its p r e v i o u s p o s i d o n . T h i s s h o w s
y o u r left h a n d to be e m p t y w h i l e d i s p l a y i n g b o t h s i d e s of the c o i n .

T a k e the c o i n b a c k b e t w e e n y o u r r i g h t t h u m b a n d i n d e x a n d m i d d l e
f i n g e r s as y o u say, ' T h a t l e a v e s o n e c o i n to g o . " B e c a u s e of the f u n - t a k o r
w a x h o l d i n g the flipper c o i n i n s i d e the p l a i n s h e l l , y o u c a n d o a n o t h e r
f i n g e r r o l l w i t h this c o i n at this p o i n t , if y o u feel so i n c l i n e d .

Vanish #3: W i t h the last c o i n h e l d b e t w e e n y o u r r i g h t t h u m b a n d i n d e x

a n d m i d d l e f i n g e r s , p r o c e e d as i n V a n i s h e s #1 a n d #2, e x c e p t t h i s d m e as
y o u r left f i n g e r s c o m e i n f r o n t of the c o i n , a c t u a l l y r e l i n q u i s h y o u r r i g h t
h a n d ' s g r i p o n the c o i n a n d p l a c e it i n l e f t - h a n d f i n g e r p a l m p o s i t i o n
( F i g u r e 14). T h a t ' s r i g h t — t h i s t i m e y o u a c t u a l l y t a k e the c o i n i n t o y o u r
left fist. H o w e v e r , as s o o n as y o u d o , i n s t e a d of t a p p i n g the t o p of y o u r
left fist w i t h a c o i n as i n the first t w o v a n i s h e s , i m m e d i a t e l y f o r m y o u r
r i g h t h a n d i n t o a fist a n d d r o p it to y o u r s i d e .

U n l i k e t h e f i r s t t w o v a n i s h e s , t h i s t i m e y o u w a n t y o u r a u d i e n c e to
b e l i e v e that y o u d i d n ' t take the c o i n w i t h y o u r left h a n d w h e n i n fact y o u
a c t u a l l y d i d . So f o l l o w the m o v e m e n t of y o u r r i g h t fist w i t h y o u r eyes. It
l e a d s y o u r a u d i e n c e to b e l i e v e that y o u r r i g h t h a n d s t i l l h o l d s the c o i n .
T h a t i s , it t a k e s t h e h e a t o f f y o u r " d i r t y " l e f t f i s t a n d p u t s i t o n y o u r
" c l e a n " r i g h t fist. T h i s i s a b i t of L a r r y J e n n i n g s f r o m h i s b o o k The Classic
Magic of Larry Jennings.

A s y o u r e y e s f o l l o w y o u r r i g h t fist, m a k e o n e o r t w o s q u e e z i n g m o t i o n s
w i t h y o u r left t h u m b a n d f i n g e r s just as i n t h e p r e v i o u s t w o v a n i s h e s .
T h e n transfer y o u r g a z e to y o u r left fist as it p r e t e n d s to h a n g the c o i n i n
m i d a i r , a l s o as i n the p r e v i o u s t w o v a n i s h e s . B y k e e p i n g the c o i n
c o n c e a l e d i n l e f t - h a n d f i n g e r p a l m p o s i t i o n as y o u p r e t e n d to h a n g it
( F i g u r e 11 a g a i n ) , the c o i n r e m a i n s h i d d e n f r o m y o u r a u d i e n c e ' s v i e w v i a
the R a m s a y s u b t l e t y . T h u s , the t h i r d c o i n has a p p a r e n t l y v a n i s h e d .

A t t h i s p o i n t y o u r a u d i e n c e s h o u l d s t r o n g l y s u s p e c t t h a t the last c o i n is
i n y o u r r i g h t fist. T o b u r s t their b u b b l e , i m m e d i a t e l y b r i n g y o u r r i g h t fist
u p i n f r o n t of y o u a b o u t w a i s t h i g h a n d o p e n it p a l m u p . Y o u r left h a n d
s h o u l d s t i l l b e i n h a n g i n g c o i n p o s i t i o n u n t i l y o u b e g i n to o p e n y o u r
r i g h t fist. H o w e v e r , as s o o n as y o u r r i g h t h a n d s t a r t s to o p e n , t u r n y o u r
left p a l m t o w a r d y o u w i t h y o u r left i n d e x f i n g e r p o i n t e d t o w a r d the
r i g h t a n d m o v e y o u r left h a n d t o w a r d y o u r r i g h t h a n d . T i m e it so that as
y o u r r i g h t fist i s a l m o s t c o m p l e t e l y o p e n , the left s i d e o f t h e b a s e of y o u r
r i g h t p a l m e n t e r s t h e f o r k o f y o u r l e f t t h u m b ( F i g u r e 15). T h u s , t h e
h i d d e n coin remains h i d d e n under y o u r right h a n d .

N o w m o v e y o u r left h a n d t o w a r d y o u r r i g h t f i n g e r d p s . I n d o i n g so, r u n
15 y o u r left t h u m b l i g h t l y a c r o s s y o u r r i g h t p a l m a n d f i n g e r s to s h o w that
y o u r right h a n d is i n d e e d e m p t y . A s y o u r left f i n g e r s reach y o u r right
fingertips, raise both hands slightly w i t h their backs t o w a r d y o u r
 audience i n a gesture m a d e to c o n v e y the i m p r e s s i o n that b o t h y o u r
h a n d s are e m p t y . Y o u r i n d e x fingers s h o u l d b e e x t e n d e d a n d y o u r other
fingers slightly curled i n so to m a i n t a i n y o u r g T i p o n the c o i n i n finger
p a l m a n d to m a k e b o t h h a n d s a p p e a r t h e s a m e ( F i g u r e 16).

T o c l e a n u p , f r o m t h e p o s i t i o n s h o w n i n F i g u r e 16 t u r n b o t h h a n d s s o
that y o u r i n d e x fingers p o i n t d o w n w a r d a n d s l i g h t l y i n w a r d t o w a r d
y o u . T h e n m o v e b o t h h a n d s t o w a r d the front o p e n i n g of y o u r coat. A t
just a b o v e coat p o c k e t l e v e l , g r a b e a c h s i d e o f t h e o p e n i n g i n t h e f o r k o f
16
y o u r i n d e x a n d m i d d l e f i n g e r s ( F i g u r e 17).

G r a b a g o o d a m o u n t of material i n there. T h e n p i n c h y o u r t h u m b s

V
a g a i n s t t h e o u t s i d e o f y o u r coat a n d y o u r i n d e x f i n g e r s a n d o p e n u p the
f r o n t o f y o u r coat a s i f t o s h o w that t h e c o i n s a r e n o t h i d d e n i n s i d e o f i t .
H o w e v e r , as y o u d o so, b e h i n d the cover p r o v i d e d b y y o u r coat, s l i p
y o u r left m i d d l e , r i n g , a n d l i t t l e f i n g e r s i n t o y o u r left s i d e c o a t p o c k e t .
These fingers then act l i k e a s l i d e , a l l o w i n g the p l a i n s h e l l w i t h the
f l i p p e r c o i n nested i n i t to s i l e n t l y s l i d e i n t o y o u r p o c k e t , t h a n k s to the
f u n - t a k ( F i g u r e 18). T o e n d , l e t g o o f y o u r c o a t a n d b r i n g b o t h h a n d s
b a c k o u t i n f r o n t o f y o u , p a l m s u p , to s h o w b o t h h a n d s e m p t y a g a i n .
17
H o m i n g i n : A s y o u c a n see, I h a v e n ' t i n c l u d e d m u c h patter w i t h Squeezed
Away, b e c a u s e T r o y ' s p a t t e r i s m o s t l y o f a n e x p l a n a t o r y n a t u r e . Y o u
k n o w , " L e t m e s h o w y o u s o m e t h i n g u n u s u a l u s i n g t h r e e c o i n s . If I take
one of the coins a n d just squeeze it, it vanishes into t h i n a i r . . . " I think
y o u g e t the i d e a . O n e f i n e p o i n t , h o w e v e r — T r o y d o e s n o t b e a t t h i s as a
h a n g i n g c o i n effect. I n fact, h e n e v e r m e n t i o n s h a n g i n g t h e c o i n s at a l l .
H e just u s e s the h a n g i n g m o t i o n to v a n i s h the c o i n s a n d p r e s e n t s t h i s a s
a p u r e l y m a g i c a l v a n i s h o f three c o i n s .

T h i s i s f a s t b e c o m i n g o n e o f m y f a v o r i t e e f f e c t s . It a b s o l u t e l y f l o o r s
l a y p e o p l e . I especially l i k e the m e t h o d for d i t c h i n g the last c o i n to clean
u p . O f c o u r s e , i t c a n just as e a s i l y b e u s e d f o r d i t c h i n g o t h e r s m a l l i t e m s .
/ / T h e o n l y r e a s o n I d i d n o t p u t Squeezed Away o n t h e c o v e r o f t h i s i s s u e ,
b e s i d e s t h e fact that D a n a n d I t h i n k t h i s i s s u e ' s c o v e r effect i s t e r r i f i c , i s
18
that T r o y g a v e u s a s e c o n d effect u s i n g a s i m i l a r m e t h o d that I feel i s a n
e v e n s t r o n g e r effect t h a n this o n e . L o o k f o r i t o n a f u t u r e c o v e r . ^

Dan HnrlnrVs= =
STUTTER COUNT
I D H : If y o u ' v e e v e r b e e n f a c e d w i t h t h e n e e d t o s h o w e i t h e r s i d e o f a
p a c k e t o f c a r d s to b e a l l i d e n d c a l , t h e n y o u ' r e p r o b a b l y f a m i l i a r w i t h the
ever p o p u l a r Flustration count. Y e t for all its virtues, the Flustration
c o u n t l a c k s a c e r t a i n a m o u n t o f b e l i e v a b i l i t y , p r o b a b l y d u e i n p a r t to its
overuse as a result of its p o p u l a r i t y . T h e f o l l o w i n g is a f l o u r i s h count
that, l i k e the F l u s t r a t i o n c o u n t , c a n b e u s e d to s h o w a l l c a r d s i n a p a c k e t
to h a v e o n e s i d e t h e s a m e a s y o u a p p a r e n t l y s h o w b o t h s i d e s o f e a c h
i n d i v i d u a l card. The count combines a Flustration-like subtlety w i t h an
i n - t r a n s i t p a c k e t s w i t c h to create a c o n v i n c i n g i l l u s i o n that i s m u c h easier
to p e r f o r m t h a n I just m a d e i t s o u n d .

T h e h e a r t o f t h e c o u n t , t h e p a c k e t s w i t c h , w a s i n s p i r e d b y a m o v e that I
s a w G a r y O u l e t t e u s e t o d i s p l a y t w o c a r d s a s h a v i n g t h e s a m e face. I
h a v e t a k e n h i s basic m o v e a n d a l t e r e d i t t o a l l o w i t s u s e w i t h a p a c k e t o f
c a r d s . T o e x t e n d i t s u s e to a p a c k e t , I a l s o a d d e d s o m e m o v e s that a l l o w
 y o u to r e p e a t the b a s i c m o v e as m a n y t i m e s as n e c e s s a r y . T h e n a m e of
the c o u n t c o m e s f r o m the fact that y o u r h a n d s a p p e a r to s t u t t e r as y o u
a p p a r e n t l y s h o w b o t h s i d e s of e a c h c a r d n o t o n c e b u t t w i c e . T h a f s t w i c e
as m u c h as i n m o s t o t h e r c o u n t s .

A l t h o u g h the Stutter Count w o r k s w i t h as f e w as t w o c a r d s o r as m a n y as

y o u c a n h a n d l e (I w o u l d n ' t r e c o m m e n d u s i n g m o r e t h a n s i x o r seven), I

U><>l w i l l d e s c r i b e it u s i n g f o u r c a r d s s i n c e t h a t s e e m s to b e a p r e t t y c o m m o n
n u m b e r for p a c k e t effects. S o f o l l o w a l o n g w i t h f o u r c a r d s i n h a n d . A l s o ,
be s u r e to c h e c k y o u r a u d i e n c e ' s v i e w o f the c o u n t w i t h a m i r r o r . In that
w a y y o u ' l l c o m e to u n d e r s t a n d q u i c k e r the r h y t h m n e c e s s a r y to p e r f o r m
the c o u n t c o n v i n c i n g l y .

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

c e n t e r o f its left l o n g e d g e b e t w e e n the t i p s o f y o u r left t h u m b a n d i n d e x
a n d m i d d l e f i n g e r s , t h u m b o n t o p a n d f i n g e r s b e l o w ( F i g u r e 1, p r e v i o u s
p a g e ) . T u r n y o u r l e f t h a n d at the w r i s t to s h o w t h e f a c e o f t h e b o t t o m
c a r d ( F i g u r e 2). R e t u r n the c a r d s to t h e i r p r e v i o u s f a c e - d o w n p o s i t i o n
a n d g r i p the r i g h t l o n g e d g e of the p a c k e t b e t w e e n the t i p s o f y o u r r i g h t
t h u m b a n d index a n d m i d d l e fingers, t h u m b o n top a n d fingers b e l o w .

O n c e y o u r r i g h t h a n d has g r i p p e d the p a c k e t , i m m e d i a t e l y b e g i n s l i d i n g
its t o p c a r d off to the left w i t h y o u r left t h u m b ( F i g u r e 3). O n c e the r i g h t
l o n g e d g e o f the t o p c a r d c l e a r s the t i p o f y o u r r i g h t t h u m b , y o u r r i g h t
h a n d w i l l be h o l d i n g o n l y a t h r e e c a r d p a c k e t . I n s t a n t l y t u r n y o u r r i g h t
h a n d at the w r i s t a n d raise it a b o v e y o u r left h a n d to s h o w the face of the
b o t t o m c a r d of t h i s t h r e e c a r d p a c k e t , a l l o w i n g t h e s i n g l e c a r d h e l d b y
y o u r left h a n d to s n a p off the p a c k e t as y o u d o so ( F i g u r e 4). K e e p y o u r
r i g h t h a n d ' s c a r d s s q u a r e d as y o u d o t h i s .

T h e m o m e n t the c a r d h e l d b y y o u r l e f t h a n d s n a p s o f f t h e t h r e e c a r d
p a c k e t h e l d b y y o u r r i g h t h a n d , t r a n s f e r y o u r left i n d e x f i n g e r to the t o p
o f the c a r d , k e e p i n g the c a r d f a c e d o w n as y o u d o s o . C l i p t h e c a r d
b e t w e e n the t i p s o f y o u r left i n d e x a n d m i d d l e f i n g e r s as y o u r a i s e y o u r
left t h u m b o f f the b a c k o f the c a r d ( F i g u r e 5). A t t h e s a m e t i m e , m o v e
y o u r r i g h t m i d d l e f i n g e r o f f t h e f a c e o f t h e t h r e e c a r d p a c k e t as y o u
d i s p l a y the face of its b o t t o m c a r d .

A f t e r p a u s i n g for just a m o m e n t , c o n d n u e b y p e r f o r m i n g the f o l l o w i n g

p a c k e t s w i t c h . T u r n y o u r r i g h t h a n d ' s p a c k e t face d o w n d i r e c t l y a b o v e
the c a r d i n y o u r left h a n d ( F i g u r e 6) C l i p the three c a r d p a c k e t b e t w e e n
y o u r left t h u m b a n d i n d e x f i n g e r a n d c l i p the s i n g l e c a r d b e t w e e n y o u r
r i g h t i n d e x a n d m i d d l e f i n g e r s . A s a c h e c k , y o u s h o u l d n o w be h o l d i n g a
t h r e e c a r d p a c k e t b e t w e e n the t h u m b s a n d i n d e x f i n g e r s o f b o t h h a n d s
w h i l e h o l d i n g a s i n g l e c a r d b e t w e e n the i n d e x a n d m i d d l e f i n g e r s of b o t h
h a n d s d i r e c t l y b e l o w the three c a r d p a c k e t .

D o n o t p a u s e i n this p o s i d o n , b u t c o n d n u e b y i m m e d i a t e l y r a i s i n g y o u r
r i g h t t h u m b o f f the b a c k of the t h r e e c a r d p a c k e t a n d r e l e a s i n g y o u r left
m i d d l e f i n g e r ' s g r i p f r o m the s i n g l e c a r d b e l o w ( F i g u r e 7, n e x t p a g e ) . T o
c o m p l e t e t h e s w i t c h , t u r n y o u r l e f t h a n d at t h e w r i s t t o d i s p l a y t h e
p a c k e t ' s b o t t o m c a r d a g a i n as y o u p l a c e the s i n g l e c a r d face d o w n o n the
table w i t h y o u r r i g h t h a n d ( F i g u r e 8, n e x t page).

O n c e this c a r d has been d e p o s i t e d u p o n the table, t u r n the three c a r d

p a c k e t face d o w n a n d g r i p its r i g h t l o n g e d g e b e t w e e n t h e t i p s of y o u r
r i g h t t h u m b a n d f i n g e r s . C o n t i n u e b y r e p e a t i n g the a c t i o n s d e p i c t e d i n
F i g u r e s 3, 4, a n d 5. T h a t is, s l i d e the t o p c a r d o f f to the left w i t h y o u r left
 t h u m b a n d t u r n y o u r r i g h t h a n d at the w r i s t to s h o w t h e b o t t o m c a r d of
the t w o c a r d p a c k e t it n o w h o l d s . T h e n r e p e a t t h e a c d o n s of t h e s w i t c h
s h o w n i n F i g u r e s 6, 7, a n d 8 to e x c h a n g e t h e t w o c a r d p a c k e t h e l d b y
y o u r r i g h t h a n d w i t h the s i n g l e c a r d h e l d b y y o u r left h a n d .

A f t e r p l a c i n g the s e c o n d s i n g l e c a r d face d o w n o n t o the o n e a l r e a d y o n

the table, y o u w i l l be d i s p l a y i n g the b o t t o m c a r d of the t w o c a r d p a c k e t
h e l d b y y o u r left h a n d . N o w r e p e a t the e n t i r e d i s p l a y a n d s w i t c h
sequence depicted i n Figures 3 t h r o u g h 8 w i t h this t w o card packet. T h e n
after y o u p l a c e the t h i r d s i n g l e c a r d face d o w n o n t o the t w o a l r e a d y o n
the table, y o u w i l l be left d i s p l a y i n g o n e c a r d i n y o u r left h a n d . D r o p this
c a r d face d o w n o n t o the three a l r e a d y o n the table to c o m p l e t e the c o u n t .

T h e w h o l e s e q u e n c e s h o u l d be d o n e s m o o t h l y a n d at a r e l a x e d p a c e . It
s h o u l d be h a n d l e d as if y o u are t r y i n g to s h o w the c a r d s o n e at a t i m e , so
d o n ' t h u r r y it t o o m u c h . O f c o u r s e , t h i s c o u n t c a n b e u s e d to s h o w the
b a c k s o f the c a r d s the s a m e i n s t e a d o f the f a c e s b y s i m p l y h o l d i n g the
p a c k e t face u p as y o u p e r f o r m it.

H o r n i n g i n ( M L ) : D a n i n d i c a t e d near the b e g i n n i n g of h i s d e s c r i p t i o n
that the Stutter Count is m u c h e a s i e r to d o t h a n it is to d e s c r i b e , a n d he's
a b s o l u t e l y r i g h t . I g o t it to f l o w f a i r l y s m o o t h l y a f t e r o n l y o n e o r t w o
t r i e s . T h e o n l y p r o b l e m y o u m a y e n c o u n t e r m i g h t b e i n k e e p i n g the
p a c k e t f r o m s p r e a d i n g as y o u d i s p l a y its b o t t o m c a r d . H o w e v e r , w i t h a
little practice, y o u s h o u l d h a v e n o t r o u b l e k e e p i n g the p a c k e t s q u a r e d .

A l t h o u g h the Stutter Count i s s o m e w h a t f l o u r i s h y , i t i s v e r y d e c e p t i v e .

T h e r e ' s a l m o s t a r e t e n t i o n of v i s i o n a s p e c t to it that m a k e s it l o o k as if the
s i n g l e c a r d s y o u place o n the table are the c a r d s y o u just d i s p l a y e d . 1 f i n d
t h i s e s p e c i a l l y true of the last t w o c a r d s of the c o u n t . T r y it i n a m i r r o r as
D a n suggests, a n d y o u m a y e v e n a m a z e y o u r s e l f . •

Michael Weber's
MATCH CUTIE GIZMO
D H : I f i r s t b e c a m e a c q u a i n t e d w i t h M i c h a e l W e b e r ' s b r a n d of m a g i c a
few years ago through his videotape (available f r o m Stevens M a g i c
E m p o r i u m ) . A s I w a t c h e d it, I s a w M i c h a e l u s e c o m m o n objects ( a l m o s t
e x c l u s i v e l y ) c o u p l e d w i t h l o g i c a l p r e s e n t a t i o n s to create s t u n n i n g effects
t h a t a p p e a r e d f r e e of t r i c k e r y . N o w it h a s a l w a y s b e e n m y b e l i e f t h a t
w h e n a m a g i c i a n creates a m y s t e r y u s i n g f a m i l i a r items, he i m p a r t s a
s e n s e of w o n d e r that c a n ' t be i m p a r t e d u s i n g a t r i c k b o x o r e v e n a d e c k
o f c a r d s . L a y p e o p l e are m o r e l i k e l y to b e l i e v e t h a t s u c h a m a g i c i a n c a n
i n d e e d alter r e a l i t y . M i c h a e l s t r u c k m e as just s u c h a m a g i c i a n .

T h i s p a s t J u l y , I w a s f o r t u n a t e e n o u g h to m e e t M i c h a e l at t h e I . B . M .
N a t i o n a l C o n v e n t i o n i n Salt L a k e C i t y . A f t e r a t t e n d i n g one of his
m i d n i g h t l e c t u r e s t h e r e , I w a s p l e a s e d to d i s c o v e r t h a t m y i n i t i a l
i m p r e s s i o n of h i m w a s correct. In fact, b o t h M a r v a n d I e n j o y e d h i s
m i d n i g h t l e c t u r e so m u c h t h a t w e r e t u r n e d to see i t a g a i n a n d a g a i n .
T h e r e w a s a l w a y s s o m e t h i n g n e w e a c h t i m e , a n d e v e r y t h i n g w a s great.

A f t e r e a c h of h i s lectures, M a r v a n d I also t o o k the o p p o r t u n i t y to h o u n d

M i c h a e l f o r a c o n t r i b u t i o n to T H E M I N O T A U R . A f t e r a l l , M i c h a e l has
h a d o n l y k i n d w o r d s to s a y a b o u t T H E M I N O T A U R in his reviews in
MAGIC a n d Inside Magic, so it w a s s o m e t h i n g w e felt h e w o u l d w a n t to
d o . O f course, w e also felt this w a y , because he h a d t o l d u s s o m e t i m e
b a c k that h e w a n t e d to c o n t r i b u t e . W e l l , M a r v a n d I felt it w a s t i m e f o r
h i m to c o m e t h r o u g h a n d c o m e t h r o u g h h e d i d w i t h t h i s e x c e l l e n t
p s e u d o - s c i e n d f i c d e m o n s t r a t i o n o f h o w to t h w a r t the l a w o f g r a v i t y . Its
n a m e refers to the secret g i m m i c k it e m p l o y s .

J u s t r e c e n t l y , M i c h a e l d i s c o v e r e d that t h i s e f f e c t i s s i m i l a r to o n e c a l l e d
AI-Levito w r i t t e n u p p r e v i o u s l y b y A l O ' H a g a n . H o w e v e r , M i c h a e l ' s
p r e s e n t a t i o n a n d h a n d l i n g are c o m p l e t e l y d i f f e r e n t . T o p e r f o r m it, y o u ' l l
n e e d a m a t c h b o o k , a d o l l a r b i l l , a s m a l l b o t t l e a b o u t s i x i n c h e s t a l l (all of
w h i c h m a y be b o r r o w e d ) , a n d a Match Cutie Gizmo.

T o c o n s t r u c t y o u r v e r y o w n Match Cutie Gizmo, t a k e a q u i c k t r i p to a

n e a r b y steel d i s t r i b u t o r a n d a c q u i r e a p i e c e o f t h i r t y w e i g h t s p r i n g steel,
1-1/2 i n c h e s l o n g , 3 / 3 2 i n c h e s w i d e a n d 1/32 i n c h t h i c k ( F i g u r e 1,
p r e v i o u s p a g e ) . U s i n g t w o p a i r s o f p l i e r s , b e n d a b o u t 1/4 i n c h o f o n e
e n d a l i t t l e m o r e t h a n 90 d e g r e e s to o n e s i d e ( F i g u r e 2, p r e v i o u s p a g e ) .
B e n d a b o u t 3/8 i n c h e s o f the o t h e r e n d i n the o p p o s i t e d i r e c t i o n . S m o o t h
off a n y r o u g h e d g e s w i t h a f i l e a n d t h e n d i p the l o n g e r b e n t e n d i n a fast
s e t t i n g e p o x y to create a l i t t l e b e a d o n it ( F i g u r e 3). A l t h o u g h t h i s g i z m o
l o o k s a lot l i k e a bent b o b b y p i n , it's o b v i o u s l y not. Besides, a b o b b y p i n
w o u l d e a s i l y s n a p f r o m the stress it w o u l d be p u t u n d e r f o r t h i s effect.

T o p e r f o r m , h a v e the g i z m o i n y o u r right f r o n t p a n t s p o c k e t . T h e n as y o u
a l l o w a m a t c h b o o k , a b i l l , a n d a b o t t l e to b e e x a m i n e d , c o n t r i v e to w e d g e
the g i z m o o n t o y o u r r i g h t m i d d l e f i n g e r t i p ( F i g u r e 4). R e t r i e v e the o t h e r
p r o p s as y o u e x p l a i n t h a t s c i e n c e o f t e n l o o k s v e r y m a g i c a l . P l a c e the
b o t t l e o n the table, s t r i k e a m a t c h , a n d d r o p it i n t o the b o t t l e . A s it b u r n s ,
a r r a n g e the m a t c h b o o k a n d b i l l o n the g i z m o as s h o w n i n F i g u r e 5, T h e
b o t t o m o f the m a t c h b o o k r e s t s a g a i n s t t h e s h o r t b e n t t i p o f the g i z m o ,
a n d the b i l l is s a n d w i c h e d l e n g t h w i s e b e t w e e n t h e m .

P l a c e the a s s e m b l e d g i z m o p a c k a g e o n t o the m o u t h o f the b o t t l e so that

the e p o x i e d e n d of the g i z m o goes i n t o the b o t t l e ' s o p e n i n g ( F i g u r e 6). A s
y o u d o so, m e n t i o n that the m a t c h is b u r n i n g u p the o x y g e n i n the bottle.
A s the m a t c h b e c o m e s e x t i n g u i s h e d , e x p l a i n that it has c r e a t e d a v a c u u m
w i t h i n the bottle b y b u r n i n g u p a l l the o x y g e n . N o w a p p l y p r e s s u r e w i t h
y o u r r i g h t m i d d l e f i n g e r t i p a g a i n s t the n e c k of the b o t t l e , a n d a m a z i n g l y
e n o u g h , y o u w i l l be able to lift it off the table w i t h just y o u r r i g h t h a n d .

W i t h the b o t t l e a p p a r e n t l y c l i n g i n g to the b i l l a n d m a t c h b o o k , a l l o w a
spectator to g r i p a s h o r t e n d of the b i l l t i g h t l y as y o u s l o w l y m o v e a w a y
f r o m h i m / h e r . T h e b i l l w i l l slide out f r o m u n d e r the m a t c h b o o k . T u r n
y o u r h a n d to b r i n g t h e b o t t l e to a h o r i z o n t a l p o s i t i o n , s h o w i n g it a l l
a r o u n d ( F i g u r e 7). R e t u r n the b o t t l e to its p r e v i o u s p o s i t i o n as y o u h a v e
y o u r spectator c u p h i s / h e r h a n d s b e l o w it. E x p l a i n that c o o l i n g the a i r i n
the b o t t l e w i l l r e l e a s e the v a c u u m . T h e n b l o w o n the b o t t l e a n d r e l e a s e
y o u r f i n g e r p r e s s u r e to a l l o w t h e b o t t l e to f a l l i n t o y o u r s p e c t a t o r ' s
w a i t i n g h a n d s . T a k e this o p p o r t u n i t y to s q u e e z e y o u r m i d d l e f i n g e r b a c k
i n t o the g i z m o . W i t h o u t p a u s i n g , d r o p the m a t c h e s i n t o y o u r s p e c t a t o r ' s
h a n d s . T h e n r e t r i e v e the b i l l a n d p o c k e t it w i t h the g i m m i c k . O f c o u r s e , if
y o u b o r r o w e d the b i l l , y o u m i g h t w a n t to t a k e it b a c k o u t a n d r e t u r n it.

H o r n i n g i n : This plays very well and looks clean, but y o u need strong
f i n g e r s to m a i n t a i n t h e p r o p e r p r e s s u r e , e s p e c i a l l y w h e n t h e b i l l i s
w i t h d r a w n . T r y v a r i o u s b o t t l e s to f i n d o n e that y o u c a n s u p p o r t e a s i l y .
A t a n y rate, I t h i n k M i c h a e l has g i v e n a l l of u s a r e a l g e m for h i s first
c o n t r i b u t i o n . N o w get o u t there a n d d o it so h e ' l l s e n d u s s o m e m o r e . *
 FROM THE LABYRINTH
M L : F o r a c h a n g e of pace, I t h o u g h t I ' d d e l v e i n t o the m a i l a r c h i v e s to let
y o u k n o w w h a t s o m e o f o u r r e a d e r s h a v e b e e n w r i t i n g to u s a b o u t . S o let
m e just r e a c h i n a n d p u l l o u t a letter o r t w o o r three o r f o u r . . .
THE MINOTAUR
" H a l f B u l l , Halt" M a g i c "
Here's one. This subscriber writes, "If s about time s o m e b o d y p u t out a
M a r v Leventhal m a g i c m a g a z i n e that isn't m o s t l y c a r d t r i c k s . T H E M I N O T A U R is a
Editor-in-Chief b r e a t h of fresh air. K e e p u p the g o o d w o r k . " T h i s is the d i r e c t r e s u l t of
D a n a n d I s u g g e s t i n g to o u r p r i n t e r t h a t h e u s e a n i n k w i t h a L i s t e r i n e
Dan Harlan base. Therefore, not o n l y does T H E M I N O T A U R p r o v i d e y o u w i t h fresh
Creative G e n i u s & Illustrator
n e w m a g i c a l effects, it also freshens y o u r b r e a t h . W e ' r e e v e n t h i n k i n g
about p u b l i s h i n g a n e w version i n " m i n t " condition.
S u b s c r i p t i o n s : T H E M I N O T A U R is
published at least quarterly or four times
a year, whichever comes first (more often Here's one f r o m an ex-subscriber. H e writes, " H e y , w h a t a ripoff. There's
if we feel u p to it). S i n g l e issues are $5. hardly any card tricks i n y o u r l o u s y rag. W h a t g i v e s ? " W h e n D a n a n d I
Y o u can save yourself a c o u p l e of bucks f i r s t d e c i d e d to p u b l i s h T H E M I N O T A U R , o n e o f o u r g o a l s w a s n o t to
by s u b s c r i b i n g . A one year s u b s c r i p t i o n a l l o w c a r d e f f e c t s to m a k e u p m o r e t h a n h a l f o f T H E M I N O T A U R ' S
(four issues) is $18, $26 overseas. M a k e c o n t e n t . U p to n o w w e ' v e s u c c e e d e d i n m e e t i n g t h a t g o a l , o b v i o u s l y to
your check or money order i n U . S . funds t h e c h a g r i n o f s o m e o f o u r r e a d e r s . It j u s t g o e s to s h o w t h a t y o u c a n ' t
payable to T H E M I N O T A U R and mail to:
p l e a s e e v e r y o n e . I g u e s s he d i d n ' t n o t i c e that he h a d fresher b r e a t h .

THE MINOTAUR
A n o t h e r s u b s c r i b e r w r i t e s , ' T H E M I N O T A U R h a s to be o n e o f t h e best
P . O . B o x 470025
k e p t secrets i n m a g i c . K e e p u p the e x c e l l e n t c o n t e n t a n d l a y o u t . " T h a n k s
B r o a d v i e w H t s . , O H 44147-0025
f o r the v e r y k i n d s w o r d s , b u t the w e a t h e r h a s t u r n e d a l i t t l e c h i l l y as o f
late, so u n t i l it w a r m s u p a g a i n , I t h i n k I ' l l just s t a y i n .
Submissions: Your editorial
s u b m i s s i o n s ( t r i c k s , b i t s of b u s i n e s s ,
essays, c o m m e n t s , anecdotes, fan m a i l , H e r e ' s o n e f r o m o n e of o u r o v e r s e a s s u b s c r i b e r s . " M o n s i e u r , je v i e n p a r
etc., a n d m a g i c a l r a m b l i n g s i n general) cette lettre s o u s - c r i r e a u n a b o n n e m e n t a v o t r e r e v u e T H E M I N O T A U R . "
are not o n l y welcome, but encouraged i n A h , t h e F r e n c h . It's l i k e t h e y h a v e a d i f f e r e n t w o r d f o r e v e r y t h i n g . I ' m
order to assure the future viability of this just g l a d o n e o f those d i f f e r e n t w o r d s m e a n t s u b s c r i p t i o n .
fine p u b l i c a t i o n . Y o u r s u b m i s s i o n s w i l l
be returned if a self-addressed, stamped T h e r e c e s s i o n k n o w s n o b o u n d s as t h i s s u b s c r i b e r i n f o r m s u s . " B e c a u s e
envelope is included. t h e b o t t o m d r o p p e d o u t o f m y s a v i n g s a c c o u n t (I h a d a h o l e i n m y
p o c k e t ) , I a m f o r c e d to c u t b a c k o n m y m a g a z i n e i n t a k e r i g h t d o w n to
P e r m i s s i o n s : N o part of this publication the b a r e essentials. So t o d a y I a m s e n d i n g a m o n e y o r d e r to H e f n e r , F l i n t ,
may be r e p r o d u c e d , i n any form, by any
G u c c i o n e , a n d y o u . " G e e , I w o n d e r i f h e s u b s c r i b e s to T H E M I N O T A U R
m e a n s , be it e l e c t r o n i c , m e c h a n i c a l ,
f o r the articles o r just to l o o k at the p i c t u r e s ?
p h o t o c o p y i n g , or even a p e n c i l w i t h o u t
the written permission of D a n and M a r v .
In a d d i t i o n , t h e m a n u f a c t u r i n g a n d L e t ' s see w h a t t h i s s u b s c r i b e r h a s to o f f e r . " W h o t h e h e c k n a m e s a
commercial rights for all items contained q u a r t e r l y p u b l i c a t i o n after a m u t a n t c o w ? " I ' l l bite, w h o ?
herein are reserved b y their contributors
and T H E M I N O T A U R . A truly d i s g r u n t l e d subscriber writes, "In m y o p i n i o n , y o u r m a g a z i n e is
d e g e n e r a t i n g r a p i d l y . In e a c h of t h e e a r l y i s s u e s t h e r e w a s at l e a s t o n e
A d v e r t i s i n g : W r i t e to T H E M I N O T A U R i d e a that c o u l d be w o r k e d i n t o a u s e a b l e f o r m . T h a t i s d e c r e a s i n g l y t r u e
for a d v e r t i s i n g i n f o r m a t i o n . Please be w i t h e a c h p a s s i n g i s s u e . " S o r r y y o u feel t h a t w a y , b u t i f y o u ' r e p a s s i n g
s u r e to i n c l u d e a t e l e p h o n e n u m b e r
i s s u e s a n d c a n ' t w o r k the m a t e r i a l i n t o a u s e a b l e f o r m , t h e n y o u ' r e
where y o u can be reached.
p r o b a b l y n o t d i g e s t i n g it p r o p e r l y . P e r h a p s y o u s h o u l d see a s p e c i a l i s t .

THE MINOTAUR
C o p y r i g h t 1992 S o there y o u h a v e a b r i e f s a m p l i n g o f o u r m a i l . S e r i o u s l y , w e a p p r e c i a t e
by M a r v i n J. Leventhal a l l of y o u w h o h a v e t a k e n the time to w r i t e . P l e a s e d o it a g a i n s o o n a n d
& Daniel D . Harlan o f t e n . A s it says i n the b o x to the left, y o u r e d i t o r i a l s u b m i s s i o n s a r e n o t
A l l Rights Reserved o n l y w e l c o m e but encouraged, a n d if y o u tell us it's o k a y , w e ' l l credit
Printed i n the U . S . A . y o u if w e p r i n t a n extract f r o m y o u r c o r r e s p o n d e n c e . In the m e a n t i m e ,
9/92-17 let m e l e a v e y o u w i t h s o m e w o r d s o f w i s d o m f r o m a s u b s c r i b e r w h o ' s
o b v i o u s l y v e r y astute. H e a d v i s e s , " N e v e r d o the pea c a n trick for a
b i k e r . " W o r d s n o d o u b t s p o k e n b y the v o i c e o f e x p e r i e n c e . *
 THE
INHTAUR
!
M I L F B I L L M ^ L F MJLMIET
© C o p y r i g h t 1992 b y M a r v i n J. L e v e n t h a l & D a n i e l D . H a r l a n D e c e m b e r 1992 / $5.00

Gary Kurtz's M =^=

FLUCTUATIONS IN VA M L : Occasionally, D a n a n d I receive m o r e contributions than w e k n o w
w h a t to d o w i t h . A t t h o s e t i m e s , it c a n get q u i t e h e c t i c t r y i n g to k e e p
track of t h e m a l l . U n f o r t u n a t e l y , t h i s m e a n s that s o m e t i m e s a n effect c a n
get lost i n the s h u f f l e (even if it i s n ' t a c a r d t r i c k ) . S u c h w a s the case w i t h
this excellent c o i n effect f r o m G a r y K u r t z .

Y o u see, it w a s a b o u t f o u r y e a r s a g o w h e n D a n a n d I w e r e just l a u n c h i n g
T H E M I N O T A U R that G a r y w a s l e c t u r i n g i n the n o r t h e a s t O h i o a r e a . I
a t t e n d e d h i s l e c t u r e a n d , g i v e n the o p p o r t u n i t y , a p p r o a c h e d h i m f o r a
c o n t r i b u t i o n . G a r y g l a d l y o b l i g e d m e w i t h Fluctuations in Value, w h i c h I
v i d e o t a p e d f o r f u t u r e reference. A l t h o u g h I w a s s u r e it w a s a c o v e r i t e m ,
it c a m e at a t i m e w h e n w e w e r e b e i n g i n u n d a t e d w i t h c o n t r i b u t i o n s . T h e
e n d r e s u l t w a s t h a t Fluctuations in Value g o t f i l e d a w a y o n o n e of m y
m a g i c s h e l v e s u n t i l a c o u p l e of m o n t h s a g o , w h e n I h a p p e n e d to s t u m b l e
u p o n it w h i l e r e v i e w i n g s o m e of m y v i d e o t a p e s . S o w i t h m y a p o l o g i e s to
G a r y f o r i n a d v e r t e n t l y h o l d i n g o n to h i s effect f o r so l o n g , here it is.

It r e q u i r e s a q u a r t e r , a h a l f d o l l a r , a n d a s i l v e r d o l l a r . Y o u also n e e d to be
w e a r i n g a s p o r t coat o r jacket, s i n c e there is s o m e s l e e v i n g i n v o l v e d . Start
w i t h the s i l v e r d o l l a r i n y o u r r i g h t s l e e v e , the h a l f d o l l a r c l a s s i c p a l m e d
i n y o u r r i g h t h a n d , a n d the q u a r t e r h e l d at the t i p s of t h e t h u m b a n d
f i n g e r s of y o u r left h a n d . Y o u r are n o w r e a d y to b e g i n .

U s i n g the K a p s s u b t l e t y , d i s p l a y the q u a r t e r . T h a t i s , w i t h y o u r h a n d s at
j u s t a b o v e w a i s t l e v e l , h o l d the q u a r t e r at the t i p s of y o u r t h u m b s a n d
i n d e x a n d m i d d l e f i n g e r s , b e t w e e n b o t h h a n d s , so that the b a c k s of y o u r
f i n g e r s are f a c i n g the f l o o r a n d y o u r p a l m s are f a c i n g e a c h other.
P o s i t i o n e d this w a y , the q u a r t e r s h o u l d be p a r a l l e l to the f l o o r , w h i l e the
c l a s s i c p a l m e d h a l f d o l l a r s h o u l d b e a p p r o x i m a t e l y p e r p e n d i c u l a r to it
( F i g u r e 1). T h e h a l f d o l l a r w i l l b e h i d d e n f r o m y o u r a u d i e n c e ' s v i e w
b e h i n d the b a s e of y o u r r i g h t t h u m b , g i v i n g t h e i m p r e s s i o n t h a t b o t h

Hokey Pokey 5
1
N Montexpose 6
S G i v e Piece a C h a n c e 9
1
i
Shake Y o u r M o n e y M a k e r 12
D
E 16
 your hands are empty except for the quarter they hold. In addition,
holding your hands at just above waist level should keep the silver dollar
from prematurely sliding out of your sleeve.

As you display the quarter say, "We all have the hope that some day our
money is going to make more money. Take this quarter here." Release
your left hand's grip on the quarter and proceed to toss it from hand to
hand a couple of times by first turning your left hand palm up and your
right hand palm down above it and dropping the quarter into what is
approximately left-hand finger palm position. Then toss the quarter back
to your right hand by turning your right hand only partially palm up
and your left hand palm down above it and dropping the quarter into
approximately right-hand finger palm position. The reason for turning
your right hand only partially palm up is so that the half dollar remains
hidden from your audience's view (Figure 2, previous page). This is the
beginning of Derek Dingle's Bounce Change, which can be found starting
on page 166 of The Complete Works of Derek Dingle.

To proceed with the Bounce Change, continue to toss the quarter from
hand to hand a couple more times. Then when the coin rests in
right-hand finger palm ready to be tossed into your left hand, instead of
dropping the quarter back into your left hand, curl your right fingers
slightly to hold the quarter in place as you instead drop the half dollar
from right-hand classic palm into your left hand (Figure 3).

To complete the Bounce Change, you must now ditch the quarter. To do
so, continue the previous tossing motions without pausing by dropping
the half dollar back into your right hand. However, as your left hand
turns palm down over your right hand and begins to drop its half dollar,
your right hand tosses the quarter it holds into your left sleeve. This
happens the instant after your right hand turns palm up by quickly
snapping your right hand slightly at the wrist toward your left sleeve
(Figure 4). Then instantly return your palm up right hand to its previous
position below your left hand in order to catch the falling half dollar.

In performance, you sleeve the quarter and catch the half dollar with
your right hand in almost the same instant. Your left hand provides the
cover needed to keep the quarter from your audience's view. Now
continue to toss the half dollar from hand to hand a couple more times.

As you'll discover after just a try or two, the Bounce Change is by no

means an easy sleight to do. However, done smoothly and without any
hesitation, it should look as if you transformed a quarter into a half
dollar by merely tossing the quarter from hand to hand.

Next, stop tossing the half dollar at a point when it is resting in finger
palm position of your palm up left hand. Say, "You see it becomes a half
dollar," as you display the coin in your left hand to show your audience
that the quarter has changed. As you do so, drop your right hand to your
side to retrieve the silver dollar from your right sleeve. With the silver
dollar now in your right hand, maneuver it into fingertip rest position as
you bring your right hand up to point to the half dollar in your left hand
5 with your right index finger (Figure 5).

Touch the half dollar with the tip of your right index finger in
preparation for the following rollover change. While keeping your right
index finger resting on the half dollar, simultaneously turn your left
hand palm down as you turn your right hand palm up. As both hands
complete their turn, curl your left fingers slightly to hold the half dollar
in left-hand finger palm, straighten your other right fingers under your
left palm so that the silver dollar is pressed up against your left palm,
and then classic palm the silver dollar in your left hand.

Now draw your left hand back, angled to the left, behind your right
hand, dropping the half dollar from left-hand finger palm onto your
right fingers as you do so. It should look as if you are simply displaying
the half dollar again by placing it on your right fingers (Figure 6).

Say, "Watch the half dollar," as you continue by moving your left hand
forward until your left fingers cover the half dollar completely. When the
half dollar is safely out of sight, contact it with your left middle, ring,
and little fingers and move your left hand and the half dollar forward.
As the half dollar starts to slide over the side of your right index finger,
curl your left fingers below your right fingers, sliding the half dollar
under your right fingers in the process. At this point, the silver dollar
should be directly above your right fingers. Drop it from left-hand classic
palm onto your right fingers in approximately the same position as that
previously occupied by the half dollar (Figure 7).

In a continuous motion, press the half dollar up against the back of your
right fingers and pivot your left hand palm up (Figure 8). Pause in this
position to display the silver dollar now resting on your right fingers.
You have apparently transformed the half into a silver dollar, so say,
"That's how to make four hundred percent profit in a very short time."

Now turn both your hands so that their palms are facing you. As you do
so, slide the silver dollar toward the tip of your right index finger with
your left thumb, show both of its sides, and grasp it so it is held
vertically between both hands at the tips of your thumbs and index
fingers. Also curl in the other fingers of both hands enough to maintain
your hold on the half dollar in your left hand (Figure 9). Both your hands
should look the same from your audience's perspective. You will now
reverse the transformation process.

Relinquish your left hand's grip on the silver dollar and perform an
underhand retention pass with it. That is, with the coin held at your right
fingertips and your left hand palm down, your right hand moves to
apparently place the silver dollar into your left hand through the fork of
your left thumb and index finger (Figure 10). Then as your left hand
makes a palm down fist around the silver dollar, your right thumb slides
the silver dollar back behind your right middle, ring, and little fingers as
your right hand draws away from your left fist. These fingers then curl
in so that the silver dollar ends up in right-hand fingertip rest position.

Now reach into your palm down left fist through the fork of your left
thumb and index finger with your right thumb and index finger. Remove
the half dollar from inside of your left hand and lay it on the back of
your left fist (Figure 11, next page). As you perform the retention pass
with the silver dollar and then remove the half dollar from your left
hand and place it on top of your left fist say, "That's a dollar. From the
dollar I take away fifty cents." At some time during these actions, you
must also classic palm the silver dollar currently in right-hand fingertip
rest position. You will now perform what can best be described as a
lapping move with the half dollar on the back of your left fist.

With the silver dollar classic palmed in your right hand, extend your
r i g h t f i n g e r s as m u c h as p o s s i b l e , r e a c h o v e r the h a l f d o l l a r , a n d p l a c e
y o u r r i g h t f i n g e r s o n t o the h a l f d o l l a r so that it rests at the b a s e of t h o s e
f i n g e r s . L o o s e n y o u r left fist s l i g h t l y to i n c r e a s e the s i z e of the o p e n i n g
b e t w e e n y o u r left t h u m b a n d i n d e x f i n g e r . T h e n s i m u l t a n e o u s l y d r a w
y o u r r i g h t h a n d b a c k s l i g h t l y as y o u r u m y o u r left fist so that its o p e n i n g
is o n t o p . A s y o u d o s o , s l i d e the h a l f d o l l a r o v e r t h e t o p of y o u r l e f t
i n d e x f i n g e r a n d a l l o w it to s e c r e t l y f a l l i n t o the o p e n i n g ( F i g u r e 12) a n d
i n t o y o u r left fist, j u s t as y o u w o u l d s l i d e a c o i n o f f the e d g e of a t a b l e
into y o u r lap.

A c t as if y o u r r i g h t h a n d s t i l l h o l d s the h a l f d o l l a r as it m o v e s a w a y f r o m
y o u r l e f t h a n d ( F i g u r e 13) a n d t o w a r d y o u r r i g h t c o a t p o c k e t t o
a p p a r e n t l y d e p o s i t the h a l f d o l l a r there. H o w e v e r , w h e n y o u p l a c e y o u r
r i g h t h a n d i n y o u r p o c k e t , l e a v e the s i l v e r d o l l a r there.

O p e n u p y o u r left h a n d to s h o w that a h a l f d o l l a r r e m a i n s there a n d toss

it o n t o y o u r p a l m u p r i g h t h a n d . A s y o u m o m e n t a r i l y d i s p l a y the h a l f
d o l l a r t h e r e s a y , ' T h a t l e a v e s m e w i t h f i f t y c e n t s , " a n d d r o p y o u r left
h a n d to y o u r s i d e to r e t r i e v e the q u a r t e r f r o m y o u r s l e e v e i n t o y o u r left
h a n d . N o w p e r f o r m another u n d e r h a n d retention pass, this time w i t h
the h a l f d o l l a r , i n t o y o u r left h a n d . T h e n r e a c h i n t o y o u r p a l m d o w n left
fist t h r o u g h the f o r k of y o u r left t h u m b a n d i n d e x f i n g e r w i t h y o u r r i g h t
t h u m b a n d i n d e x f i n g e r , r e m o v e the q u a r t e r , l a y it o n the b a c k of y o u r
left fist, a n d c l a s s i c p a l m y o u r r i g h t h a n d ' s h a l f d o l l a r . A s y o u d o so s a y ,
" F r o m fifty cents I take a w a y t w e n t y - f i v e c e n t s . "

N o w p e r f o r m the l a p p i n g m o v e a g a i n , this t i m e w i t h the q u a r t e r . A s y o u

d i d w i t h the h a l f d o l l a r , act as if y o u r r i g h t h a n d s t i l l h o l d s the q u a r t e r as
it m o v e s to a p p a r e n t l y d e p o s i t it i n y o u r r i g h t coat p o c k e t . H o w e v e r , this
t i m e l e a v e the h a l f d o l l a r t h e r e . T h e n o p e n u p y o u r left h a n d to s h o w
that a q u a r t e r r e m a i n s a n d say, " T h a t leaves m e w i t h t w e n t y - f i v e c e n t s . "

Y o u w i l l n o w p e r f o r m w h a t G a r y r e f e r s to as the " t o s s r e t u r n s l e e v e . "

Y o u w i l l a p p a r e n t l y toss the q u a r t e r i n t o y o u r r i g h t h a n d , d i s p l a y it for a
s e c o n d , a n d t h e n toss it b a c k i n t o y o u r left h a n d , w h i c h c l o s e s i n t o a fist
a r o u n d it. H e r e ' s w h a t y o u a c t u a l l y d o .

M o v e y o u r p a l m u p left h a n d t o w a r d y o u r r i g h t s l e e v e u n d e r y o u r p a l m
d o w n r i g h t h a n d . H o w e v e r , as y o u d o so, t u r n y o u r left h a n d to v e r t i c a l
a n d t o s s the q u a r t e r i n t o y o u r r i g h t s l e e v e ( F i g u r e 14). A t a l m o s t the
s a m e t i m e as y o u t o s s the c o i n , o r j u s t a f r a c t i o n of a s e c o n d l a t e r , t u r n
y o u r r i g h t h a n d at the w r i s t so that its f i n g e r s are p o i n t e d u p w a r d a n d
act as if t h e y h o l d a c o i n ( F i g u r e 15) f o r j u s t a n i n s t a n t . T h e n p r e t e n d to
toss the s u p p o s e d q u a r t e r b a c k i n t o y o u r left h a n d ( F i g u r e 16, next page),
m a k e a fist a r o u n d it, a n d t u r n y o u r left fist p a l m d o w n .

Y o u ' r e n o w r e a d y to f i n i s h . R e a c h i n t o y o u r p a l m d o w n left fist t h r o u g h

the f o r k of y o u r left t h u m b a n d i n d e x f i n g e r w i t h y o u r r i g h t t h u m b a n d
i n d e x f i n g e r , r e m o v e " n o t h i n g " a n d o p e n y o u r r i g h t h a n d p a l m u p to
s h o w it i s e m p t y . A c c o m p a n y t h e s e a c t i o n s b y s a y i n g , " A n d if f r o m
t w e n t y - f i v e c e n t s I t a k e a w a y n o t h i n g , it l e a v e s m e w i t h n o t h i n g . "
C o n c l u d e b y o p e n i n g y o u r left h a n d p a l m u p to s h o w it is a l s o e m p t y .
A l l that r e m a i n s is to s e c r e t l y r e t r i e v e the q u a r t e r f r o m y o u r r i g h t s l e e v e
a n d d e p o s i t it i n y o u r p o c k e t at y o u r earliest c o n v e n i e n c e .

H o r n i n g i n : S o m e of y o u h a v e w r i t t e n to D a n a n d m e r e q u e s t i n g a n
effect that r e q u i r e s a little w o r k . W e t h i n k Fluctuations in Value w i l l m o r e
t h a n s a t i s f y t h o s e r e q u e s t s . I w i s h y o u c o u l d see G a r y p e r f o r m it. I n h i s
 hands its pure magic (not that it can't be in your hands, too).

Speaking of Gary's hands, I spoke with him recently and was happy to
learn that he has completely recovered from the injury he incurred while
performing his Russian Roulette routine using knives. Yes, one of the
knives did puncture his hand, but it didn't penetrate all the way through.
As a result, the damage wasn't as extensive as it could have been. The
reason he hasn't been heard from lately is because he's been lecturing
extensively in Europe and concentrating primarily on developing his
own performance pieces, both stand-up and close-up. By the way, Gary
informed me that the Russian Roulette routine is no longer in his act.^

John Swomlev's =
HOKEY POKEY
M L : A few months back, I was bugging Dan to round up some new
contributors to T H E M I N O T A U R . To shut me up, Dan sent me a
videotape of some effects that a magician by the name of John Swomley
had sent to him. Upon viewing the tape, I was delighted to discover how
ingenious this part-time tricky guy from Martinsburg, West Virginia is.
His ideas are not only clever, but practical as well. Having been in magic
since only 1983, he may just put Martinsburg on the map.

To give you a taste of John's thinking, here's a sponge ball move he came
up with that is particularly useful if you're working without benefit of a
table. It is a way of ostensibly placing one sponge ball in one of your
hands, another one in your spectator's hand, and then magically having
both sponge balls appear in your spectator's hand. Briefly, the move goes
like this — you push your right thumb in, you pull your right thumb out.
You push your right thumb in, and you pull a sponge ball out...

Here's the details. Start off by placing one sponge ball between your
right index and middle fingers and the other one between your right
middle and ring fingers (Figure 1). Display the balls in this position by
holding your right hand with its palm directly facing your spectators.
Then obtain the assistance of a nearby spectator by asking, "Would you
please point to the ball that you would like to hold?"

After your spectator has made a selection, make a fist with your left hand
so that the opening between your left thumb and index finger is
uppermost. Then if the ball between your index and middle fingers was
selected, turn your right hand palm down, deposit the other ball on top
of your left fist (Figure 2), and raise your right hand back to its previous
position to display the single ball it holds (Figure 3).

The procedure is the same if the ball between your right middle and ring
fingers is selected with one addition. As you raise your right hand back
to its previous position, you must also roll the ball from between your
middle and ring fingers to between your index and middle fingers with
the aid of your right thumb (Figure 4). Either way, you should wind up
with one ball resting on top of your left fist and the other ball displayed
between your right index and middle fingers. This is the required
position for what is to follow.

First perform a feint by pushing the ball on top of your left fist inside
your left fist with your right thumb (Figure 5, next page). Then move
 y o u r r i g h t h a n d b a c k to it p r e v i o u s d i s p l a y p o s i t i o n a n d m a k e a fist w i t h
it, m a n e u v e r i n g t h e b a l l it h o l d s i n s i d e y o u r r i g h t fist. A c c o m p a n y t h i s
feint b y e x p l a i n i n g , T i l h o l d o n to t h i s o n e , w h i l e y o u h o l d t i g h t l y o n to
this one. O k a y ? " A s y o u say, " O k a y , " g e s t u r e t o w a r d y o u r s p e c t a t o r w i t h
y o u r r i g h t fist. O n c e y o u r a u d i e n c e n o d s a f f i r m a t i v e l y , y o u ' l l p e r f o r m
t h e f o l l o w i n g s l e i g h t t h a t s h o u l d l o o k j u s t l i k e t h e p r e v i o u s f e i n t . It
utilizes a n o l d sponge ball vanish.

B e g i n b y m a n e u v e r i n g t h e b a l l i n s i d e y o u r r i g h t fist b a c k b e t w e e n y o u r
r i g h t i n d e x a n d m i d d l e f i n g e r s to i t s p r e v i o u s d i s p l a y p o s i t i o n as y o u
a l s o m a n e u v e r t h e b a l l i n s i d e y o u r left fist b a c k o n t o p of y o u r fist. Y o u
s h o u l d o n c e a g a i n be i n t h e p o s i t i o n s h o w n i n F i g u r e 3. T h e n i n s t e a d of
p u s h i n g the b a l l o n t o p o f y o u r left fist i n s i d e o f it, y o u r r i g h t t h u m b goes
i n t o y o u r left fist b e h i n d the b a l l . A s a result, the b a l l s h o u l d r i d e u p
a l o n g y o u r t h u m b into the fork b e t w e e n y o u r right t h u m b a n d index
f i n g e r w h e r e it c a n be e a s i l y t h u m b p a l m e d ( F i g u r e 6).

N o w t h u m b p a l m the b a l l a w a y as y o u p u l l y o u r r i g h t t h u m b f r o m y o u r
left fist. T h e n m a k e a fist a r o u n d b o t h b a l l s . F i n a l l y , e n d b y a p p a r e n t l y
p l a c i n g o n l y one ball into y o u r spectator's h a n d , h a v i n g h i m / h e r make a
fist a r o u n d it, a n d t h e n m a g i c a l l y r e v e a l i n g that t h e b a l l s u p p o s e d l y i n
y o u r left fist h a s v a n i s h e d o n l y to j o i n the b a l l i n y o u r s p e c t a t o r ' s h a n d .

H o r n i n g i n : A n y o n e f a m i l i a r w i t h the o l d sponge ball v a n i s h e m p l o y e d

here w o u l d p r o b a b l y agree that it's n o t a v e r y n a t u r a l - l o o k i n g sleight.
A l t h o u g h Hokey Pokey d o e s n ' t m a k e it l o o k a n y less h o k e y , it d o e s create
the i l l u s i o n of d i s t a n c e b e t w e e n the t w o b a l l s , w h i c h m a k e s J o h n ' s
h a n d l i n g l o o k v e r y fair. In a d d i t i o n , the second b a l l p r o v i d e s a d d e d
c o v e r w h e n t h u m b p a l m i n g t h e first b a l l . A l l t h i s m a k e s t h e m o v e v e r y
d e c e p t i v e . A s a result, J o h n tells u s that h e h a s e x p e r i e n c e d m u c h success
w i t h Hokey Pokey, w h i c h h a s l e a d h i m t o t h e f o l l o w i n g c o n c l u s i o n — i f
y o u c a n ' t be n a t u r a l , at least be fair. A n d that's w h a t i t ' s a l l a b o u t . *

Phil Goldstein's
MONTEXPOSE
M L : If s o m e o n e o f f e r e d to e x p l a i n to y o u w h y i t ' s i m p o s s i b l e f o r y o u to
w i n at the g a m e of t h r e e - c a r d m o n t e , y o u w o u l d m o s t l i k e l y expect to see
an explanation u s i n g three cards, right? W e l l , a l t h o u g h that's w h a t y o u
fete m i g h t e x p e c t , P h i l G o l d s t e i n h a s o n o c c a s i o n b e e n k n o w n to offer u p the
u n e x p e c t e d . S u c h is t h e c a s e h e r e as P h i l t a k e s a m o r e i n n o v a t i v e
a p p r o a c h i n e x p o s i n g this ancient three-card g a m e b y a p p a r e n t l y u s i n g
not three, n o t f o u r , b u t f i v e c a r d s .

A l t h o u g h Montexpose a p p e a r s t o u s e f i v e c a r d s , o n l y f o u r c a r d s a r e
1
e m p l o y e d . T h e y are t w o b l u e - b a c k e d j o k e r s , o n e r e d - b a c k e d j o k e r , a n d a
d o u b l e - f a c e d c a r d that h a s a j o k e r o n o n e s i d e a n d a q u e e n o f h e a r t s o n
the other. If y o u c a n ' t f i n d the p r e s c r i b e d d o u b l e - f a c e r , a n y d o u b l e - f a c e r
w i l l d o . Y o u ' l l j u s t h a v e to s u b s t i t u t e f o r t h e j o k e r s t w o b l u e - b a c k e d
ft

&
c a r d s a n d o n e r e d - b a c k e d c a r d that m a t c h o n e s i d e of the d o u b l e - f a c e r .

A s s u m i n g that y o u are u s i n g the j o k e r s a n d the q u e e n o f h e a r t s , a r r a n g e

t h e m f r o m t o p to b o t t o m as f o l l o w s : the t w o face u p b l u e - b a c k e d j o k e r s ,
f o l l o w e d b y t h e face u p r e d - b a c k e d j o k e r a n d t h e d o u b l e - f a c e r , q u e e n
2
s i d e u p ( F i g u r e 1). W i t h t h e p a c k e t h e l d face u p w i t h y o u r r i g h t h a n d
f r o m a b o v e i n B i d d l e p o s i t i o n ( F i g u r e 2), y o u are r e a d y to b e g i n .
 C o m m e n c e b y a s k i n g y o u r s p e c t a t o r s , " A r e y o u f a m i l i a r w i t h the g a m e
of t h r e e - c a r d m o n t e ? " R e g a r d l e s s of t h e i r r e s p o n s e , c o n t i n u e b y
e x p l a i n i n g , " T h a t ' s the o n e i n w h i c h t w o s i m i l a r c a r d s a n d o n e o d d c a r d
are s h o w n a n d t h e n m i x e d face d o w n . A p l a y e r t h e n b e t s the o p e r a t o r of
the g a m e that he c a n f i n d the o d d c a r d . U n f o r t u n a t e l y , it's i m p o s s i b l e f o r
the p l a y e r to w i n a g a m e of t h r e e - c a r d m o n t e , a n d I ' l l d e m o n s t r a t e w h y .
H o w e v e r , i n o r d e r to d o so, I ' l l use f i v e c a r d s i n s t e a d o f the u s u a l t h r e e . "

Y o u w i l l n o w c o u n t t h e f o u r c a r d s y o u h o l d as f i v e i n t h e f o l l o w i n g
m a n n e r . M o v e y o u r h a n d s t o g e t h e r a n d w i t h y o u r left t h u m b d r a w the
f i r s t j o k e r o f f t h e t o p o f the r i g h t - h a n d p a c k e t i n t o l e f t - h a n d d e a l i n g
p o s i t i o n as y o u r h a n d s separate ( F i g u r e 3). C o u n t , " O n e . " S i m u l a t i n g the
p r e v i o u s actions, m o v e y o u r h a n d s t o g e t h e r a g a i n b u t this t i m e p l a c e the
r i g h t - h a n d p a c k e t f l u s h o n t o the l e f t - h a n d j o k e r f o r j u s t a s p l i t s e c o n d .
T h e n as y o u r l e f t t h u m b d r a w s t h e s e c o n d j o k e r f r o m t h e t o p o f t h e
r i g h t - h a n d p a c k e t i n t o y o u r left h a n d a p p a r e n t l y s q u a r e o n t o the f i r s t
j o k e r , y o u r r i g h t h a n d steals a w a y the f i r s t j o k e r b a c k o n t o the b o t t o m of
the r i g h t - h a n d p a c k e t as y o u r h a n d s separate. C o u n t , ' T w o . "

U s i n g s i m i l a r a c t i o n s , y o u r left t h u m b n o w l e g i t i m a t e l y d r a w s , o n e at a
t i m e , the r e m a i n i n g three c a r d s of the r i g h t - h a n d p a c k e t (the t h i r d j o k e r ,
the d o u b l e - f a c e r w i t h t h e q u e e n s i d e s h o w i n g , a n d t h e f i r s t j o k e r that
w a s s t o l e n b a c k ) o n t o t h e l e f t - h a n d s t o c k . H o w e v e r , as y o u d r a w the
q u e e n i n t o y o u r left h a n d , j o g it f o r w a r d a b o u t o n e q u a r t e r to o n e t h i r d
o f i t s l e n g t h , s o t h a t it c l e a r l y s t a n d s o u t f r o m t h e j o k e r s ( F i g u r e 4).
C o u n t , "Three, f o u r , f i v e , " a n d reiterate w h a t y o u r spectators h a v e just
seen b y s a y i n g , ' T o u r j o k e r s a n d o n e q u e e n of h e a r t s . "

S q u a r e the p a c k e t w i t h y o u r r i g h t h a n d a n d f l i p it face d o w n i n l e f t - h a n d
d e a l i n g p o s i t i o n as y o u say, " N o w u s i n g f i v e c a r d s m i g h t m a k e the g a m e
s e e m h a r d e r to beat, b u t i n t h i s c a s e I ' v e m a d e t h i n g s e x t r e m e l y e a s y . "
R e g r i p the p a c k e t w i t h y o u r r i g h t h a n d f r o m a b o v e i n B i d d l e p o s i t i o n
w h i l e the p a c k e t s t i l l rests i n l e f t - h a n d d e a l i n g p o s i t i o n . T h e n w i t h y o u r
left h a n d , o p e n l y cut the b o t t o m c a r d of the p a c k e t to the t o p . T h i s c a n be
e a s i l y a c c o m p l i s h e d b y s l i d i n g the b o t t o m c a r d o f f the b o t t o m o f the
p a c k e t to the left w i t h y o u r l e f t f i n g e r t i p s a n d t h e n p l a c i n g it o n t o p .
A l t e r n a t i v e l y , y o u c o u l d b u c k l e the b o t t o m c a r d s l i g h t l y w i t h the t i p of
e i t h e r y o u r left i n d e x o r m i d d l e f i n g e r at the c a r d ' s o u t e r r i g h t c o m e r to
separate it f r o m the rest of the p a c k e t ( F i g u r e 5) a n d t h e n p l a c e it o n t o p .

A f t e r this cut, b e g i n a H a m m a n C o u n t to s h o w f i v e c a r d s a g a i n , this t i m e

as f o u r b l u e - b a c k e d c a r d s s u r r o u n d i n g o n e r e d - b a c k e d c a r d . B r i e f l y ,
h e r e ' s h o w . W i t h the p a c k e t s t i l l h e l d i n r i g h t - h a n d B i d d l e p o s i t i o n ,
m o v e y o u r h a n d s together a n d w i t h y o u r left t h u m b d r a w the t o p c a r d , a
b l u e - b a c k e d c a r d , off the t o p of the r i g h t - h a n d p a c k e t i n t o y o u r left h a n d ,
so that the o u t e r left c o r n e r of the c a r d rests at a b o u t the s e c o n d j o i n t i n
f r o m the t i p o f y o u r l e f t i n d e x f i n g e r ( F i g u r e 6). D r a w the n e x t c a r d ,
a n o t h e r b l u e - b a c k e d c a r d , o f f t h e t o p of the r i g h t - h a n d p a c k e t s q u a r e
o n t o the p r e v i o u s c a r d i n a s i m i l a r m a n n e r .

N o w f o r the s n e a k y p a r t . A s y o u a p p a r e n t l y d r a w the n e x t c a r d , a
r e d - b a c k e d c a r d , off the t o p of the r i g h t - h a n d p a c k e t , y o u r h a n d s s w i t c h
p a c k e t s . T o d o so, p l a c e the r i g h t - h a n d p a c k e t o v e r l a p p i n g the l e f t - h a n d
6 p a c k e t s l i g h t l y t o t h e l e f t ( F i g u r e 7, n e x t p a g e ) . Y o u r l e f t t h u m b
i m m e d i a t e l y c l a m p s d o w n o n the o u t e r left c o r n e r of the u p p e r p a c k e t to
d i s g u i s e t h i s fact. B e c a u s e of its o v e r l a p p i n g c o n d i t i o n , t h i s p a c k e t is
h e l d i n p l a c e b e t w e e n j u s t y o u r r i g h t t h u m b a n d the b a s e o f y o u r left
i n d e x f i n g e r . Y o u r r i g h t t h u m b a n d f i n g e r s t h e n s h i f t t h e i r g r i p to the
lower packet. By separating your hands, the exchange is made (Figure 8).

To complete the count, your left thumb legitimately draws, one at a time,
the two blue-backed cards of the right-hand packet onto the left-hand
stock. However, as you draw the first of these two cards, obtain a left
little finger break beneath it so that at the end of the count, you have a
left little finger break beneath the top two blue-backed cards.

As you cut the bottom card to the top and complete the Hamman Count
say, "You see, even if I mix the cards, it's very easy to follow, because
one of the cards has an odd-colored back." You will now apparently give
the packet another cut by performing a simple slip cut with the top two
cards of the packet. Here's how.

With the cards still in left-hand dealing position, your right hand grips
the packet from above in Biddle position, your right thumb taking over
the break held by your left little finger. Your left thumb now presses
down on the back of the top card of the packet and your hands separate.
Because of the break and the pressure applied by your left thumb, your
left thumb draws the top card of the packet square onto the two cards
below the break, while your right hand moves to the right with just the
card directly above the break (Figure 9 ) . Complete this slip cut by
slapping your right hand's single card on top of the left-hand packet.

Prior to the slip cut, your spectators should have believed that the
odd-backed card was in the middle of the packet. The purpose of the slip
cut is to make it seem as if you cut it to the face of the packet, where they
will see the queen momentarily. As you perform the slip cut ask your
spectators, "And which card do you suppose that could be?" Regardless
of their response, flip the packet face up in your left hand to show the
queen on the face of the packet and say, "The queen of hearts."

Now spread the top two cards of the packet slightly to the right and
obtain a left little finger break under them as you resquare the packet.
Then immediately rum the top two cards over as one (the reason for the
break) to apparently show the red back of the queen of hearts. Your right
hand then takes this face down red-backed card and moves away with it
toward the right. A joker shows atop the left-hand packet, so nothing
seems to have changed.

Your left thumb now digs beneath its packet and, with the help of your
left fingers, levers it face down, taking care to keep it perfectly squared
(Figure 10, next page). Maneuver the packet into left-hand dealing
position, if it is not in dealing position already, and obtain a left little
finger break above the bottom card of the packet. This can be
accomplished with a left little finger pull down of the bottom card or by
buckling this card with your left index or middle finger at its outer right
comer. Insert your right hand's card into the break (Figure 11, next page)
and square the packet in your left hand.

As you perform the actions of the previous paragraph say, "So with the
odd card identifiable from both sides, victory would seem to be quite
simple." With that, flip the packet face up in your left hand and say, "But
although it may seem easy, in fact you can never win."

You will now display the cards in the packet to be four blue-backed
jokers via the following diminishing lift sequence. Obtain a left little
finger break above the bottom card of the packet using a little finger pull
 down or a buckle, and do a triple turnover to show a blue back. Then
obtain another left little finger break above the bottom card, turn the
triple block face down, and casually toss the top joker to the table. In a
similar manner, perform a double turnover to show another blue back.
Flip this double card face down and toss the top joker to the table onto
the previous one. Flip over the next single card to show its blue back.
Then flip it face up and toss it onto the tabled pile. Finally, snap the last
joker over to show its blue back, flip it face up again, and drop it on top
of the previous three jokers.

Done swiftly, this display sequence is rather disarming, as the complete

vanish of the red-backed queen is totally unexpected. At this point you
can, if you like, have a duplicate red-backed queen of hearts waiting in a
convenient pocket to be reproduced. In either case, gather up the jokers
on the table and put them away while your spectators are still pondering
the disappearance/reappearance of the queen.

Horning in: The patter you use to accompany the diminishing lift
sequence will depend on whether or not you choose to reproduce a
duplicate red-backed queen of hearts at its conclusion. For what it's
worth, here's how I handle each presentation. If I don't reproduce the
queen, I stretch out the final patter line as follows: "But although it may
seem easy (toss the first joker), in fact (toss the second joker), you can
never (toss the third joker), win (toss the fourth joker)."

When I reproduce the queen I say, "You see, no matter where you guess
(toss the first joker), you're always wrong (toss the second joker),
because when you weren't looking (toss the third joker), I snuck the
queen out of the packet (toss the fourth joker), and placed her into my
pocket (reproduce the duplicate queen from your pocket)."

Although I have gotten a strong reaction from laypeople with both

presentations, I prefer to reproduce the queen. It's reproduction seems to
douse any heat that might otherwise be drawn to the jokers on the table.
As a bonus, the pile of jokers on the table easily resets for a repeat
performance by merely flipping the bottom card, the double-facer, over
so that the queen of hearts is face up on the bottom again.•

Michael De Marco's s
GIVE PIECE A CHANCE
M L : If after reading this effect you recall having already seen it
performed by someone other than Michael De Marco, that someone was
probably the person that the U.S. Postal Service saw fit to deliver
Michael's initial write-up to instead of THE MINOTAUR. As a result of
this rare postal snafu, this effect, Michael's second contribution, appears
over a year later than he originally tried to send it to us. So without any
further delay, all we are saying is Give Piece a Oxance.

Michael's main influence for Give Piece a Chance was the Stewart James
effect Shape of Things to Come, which originally appeared in the October
1952 issue of The Linking Ring and more recently in the tome Stewart
James in Print. In that effect, Mr. James employed a basic five piece puzzle
design first constructed by the great puzzle enthusiast Sam Loyd in 1914.
By employing that same design and adding a sixth piece and a couple
other twists, Michael has come up with this entirely different effect in
w h i c h a s p e c t a t o r ' s p o w e r s of E . S . P . are tested.

T h e r e is a bit of o n e - t i m e p r e p a r a t i o n r e q u i r e d to m a k e the p r o p s f o r this

effect. H o w e v e r , o n c e m a d e , t h o s e p r o p s w i l l last y o u a l i f e t i m e o r u n t i l
t h e y w e a r o u t . F o r s t a r t e r s , t a k e t h i s i s s u e o f T H E M I N O T A U R to a
n e a r b y c o p y s h o p a n d d o s o m e t h i n g that m a y lessen o r increase its v a l u e
t o y o u (it d e p e n d s o n w h o y o u a s k ) , t h a t i s , m a k e a c o p y o f t h e t w o
p u z z l e d e s i g n s d e p i c t e d i n F i g u r e s 2 a n d 3. N o , I d i d n ' t forget F i g u r e 1. It
c o m e s later so I c o u l d p u t F i g u r e s 2 a n d 3 o n the s a m e p a g e f o r y o u .

I n c o p y i n g t h e m , e n l a r g e t h e m to 1 5 0 % s o t h a t t h e p r o p s m a d e f r o m
t h e s e d e s i g n s w i l l b e r e a d i l y v i s i b l e a n d e a s y t o h a n d l e . If f o r s o m e
r e a s o n y o u c a n ' t m a k e a c o p y to 1 5 0 % i n o n e t r y , the s a m e r e s u l t c a n be
a c h i e v e d b y m a k i n g o n e c o p y at 1 2 5 % a n d t h e n m a k i n g a c o p y of that
c o p y at 120%. I s n ' t m a t h w o n d e r f u l ? W h i l e at y o u r c o p y s h o p , a l s o p i c k
u p t w o or three sheets of c a r d or report c o v e r stock i n y o u r f a v o r i t e
c o l o r . Y o u m i g h t w a n t to c o v e r these s h e e t s w i t h a l a y e r of c l e a r p o s t a l
p a c k i n g t a p e as a s o r t o f l a m i n a t i o n o r a c t u a l l y h a v e y o u r c o p y s h o p
l a m i n a t e t h e m b e f o r e y o u l e a v e . T h e l a m i n a t i o n w i l l m a k e the p r o p s
y o u ' r e a b o u t to m a k e f r o m these sheets s t u r d i e r a n d m o r e d u r a b l e .

N o w u s i n g y o u r 150% c o p y of F i g u r e 2 as a p a t t e r n , c a r e f u l l y c u t o u t the
f i v e s h a p e s that m a k e u p that p u z z l e d e s i g n o u t of one of the c o l o r e d
s h e e t s a n d p l a c e t h e m o n a c o n v e n i e n t t a b l e i n a p i l e . Be c a r e f u l n o t to
t u r n a n y of the p i e c e s o v e r as y o u d o t h i s . R e p e a t t h i s p r o c e d u r e t h r e e
m o r e t i m e s , t h u s g i v i n g y o u a t o t a l o f f o u r sets of f i v e p i e c e s e a c h , e a c h
set i n a s e p a r a t e p i l e . L o g i c a l l y e n o u g h , e a c h set, w h e n a s s e m b l e d
c o r r e c t l y , s h o u l d f o r m the r i g h t t r i a n g l e d e p i c t e d i n F i g u r e 2.

O n e a d d i t i o n a l p i e c e , w h i c h w e w i l l c a l l the " m i s s i n g p i e c e , " s t i l l n e e d s

to be cut o u t . It is s h o w n b y the d o t t e d l i n e s i n F i g u r e 3. U s i n g y o u r 150%
c o p y o f F i g u r e 3 as a p a t t e r n , c a r e f u l l y c u t t h i s o n e p i e c e o u t of w h a t
r e m a i n s o f the c o l o r e d s h e e t s . A g a i n , b e c a r e f u l n o t t o t u r n t h i s p i e c e
o v e r as y o u c u t it o u t a n d p l a c e it o n the t a b l e . N o w p l a c e a d o t o n its
l o w e r left c o m e r ( F i g u r e 3). D o n ' t m a k e the d o t t o o o b v i o u s . It s h o u l d be
r e a d i l y v i s i b l e to y o u , yet h a r d l y n o t i c e a b l e to y o u r spectators.

N o w y o u n e e d to c o m e u p w i t h f o u r c l e a r p l a s t i c e n v e l o p e s . E a c h of the
e n v e l o p e s s h o u l d be b i g e n o u g h to c o m f o r t a b l y h o l d o n e of the f o u r sets
of f i v e p i e c e s . M i c h a e l m a d e h i s e n v e l o p e s o u t of o n e of t h o s e c l e a r
plastic b i l l f o l d inserts used for h o l d i n g p h o t o g r a p h s i n wallets. U s i n g a
scissors, h e s i m p l y d e t a c h e d the p l a s t i c h o l d e r s f r o m e a c h o t h e r a n d u s e d
f o u r of the h o l d e r s as h i s e n v e l o p e s ( F i g u r e 1, p r e v i o u s page).

P l a c e o n e f i v e p i e c e set i n s i d e e a c h of the f o u r e n v e l o p e s . A s b e f o r e , be
c a r e f u l n o t to t u r n a n y of the p i e c e s o v e r as y o u d o t h i s . T h e n w i t h t h e i r
o p e n i n g s at t h e t o p , p l a c e a d o t o n t h e l o w e r r i g h t c o r n e r o f e a c h
e n v e l o p e ( F i g u r e 4, n e x t p a g e ) . A s b e f o r e , e a c h d o t s h o u l d b e r e a d i l y
v i s i b l e to y o u , yet h a r d l y n o t i c e a b l e to y o u r spectators. P l a c e the m i s s i n g
p i e c e i n a l e t t e r - s i z e s e c u r i t y e n v e l o p e a n d w r i t e o n the o u t s i d e of the
e n v e l o p e " T h e M i s s i n g P i e c e . " T h a t c o m p l e t e s the p r e p a r a t i o n .

T o p e r f o r m , h a v e the f i v e e n v e l o p e s ( f o u r p l a s t i c a n d o n e p a p e r ) i n a
c o n v e n i e n t p o c k e t . T a k e o u t the f o u r p l a s t i c e n v e l o p e s a n d p l a c e t h e m i n
a r o w i n f r o n t of y o u so that f r o m y o u r p e r s p e c t i v e the p e n c i l d o t o n each
e n v e l o p e is i n the l o w e r r i g h t c o r n e r ( F i g u r e 5, n e x t p a g e ) . E x p l a i n that
e a c h e n v e l o p e c o n t a i n s a p u z z l e . N o w t a k e o u t the e n v e l o p e c o n t a i n i n g
the m i s s i n g p i e c e a n d h a n d it to a s p e c t a t o r as y o u s a y , " I h a v e r e m o v e d
a piece from one of these four puzzles. That is, three of the four puzzles
are complete, and one of them has a piece missing. The envelope you
now hold contains that missing piece."

Continue by saying, T n order to test your powers of E.S.P., I would like

you to concentrate on the four puzzles on the table and then on the piece
in the envelope you h o l d . " Pause to allow for this moment of
concentration and then say, "Now please point to the puzzle that you
think has the missing piece." After your spectator has pointed to one of
the plastic envelopes, you will use the following procedure to show that
he/she is correct no matter which envelope is selected.

Pick up one of the plastic envelopes that was not selected with your left
hand from above in Biddle position and allow the pieces to slide out of it
onto the table (Figure 6). Take care that none of the pieces turn over as
you do so. Then place the envelope aside and assemble the pieces into
the pattern depicted in Figure 2. It helps to have memorized that pattern
so you can assemble the pieces without fumbling around.

Repeat the procedure described in the previous paragraph with the other
two envelopes that were also not selected. There should now be three
puzzles assembled side by side on the table (Figure 7). You have thus
shown that each of the unchosen envelopes contained a complete right
triangle puzzle with no missing pieces. Now take each puzzle apart, one
at a time, reinsert the pieces back into their respective envelopes, and
place these envelopes aside.

You will now show that the selected envelope had the missing piece. To
do so, you must secretly turn this envelope over so that the dot is on the
underside of the envelope and in the lower left corner. Here's one way to
do just that. Pick up the envelope at its opening between your right
thumb and index finger and hold it vertically so that the dot is at its
lower right comer (Figure 8). As you do so, reiterate what has transpired
so far. Then point to the envelope with your left index finger and
continue by saying, "Now let's find out if the puzzle you selected does in
fact have a missing piece."

At this point, your left hand reaches in front of the envelope currently
held by your right hand, that is the side of the envelope facing your
spectators, and grasps the envelope as shown in Figure 9 on the next
page. By turning your left hand palm down, you have secretly turned the
envelope over. The envelope should now be held in left-hand Biddle
position. As with the unchosen envelopes, allow the pieces to slide out of
the selected envelope onto the table (Figure 6). Take care that none of the
pieces turn over as you do so. Then place the envelope aside.

Because the envelope has been secretly turned over, you can now
assemble the pieces into the pattern depicted by the solid lines shown in
Figure 3 rather than Figure 2. To do this without any hesitation, it helps
to have also memorized the pattern in Figure 3. This will produce the
base of a right triangle that seems to be missing its top piece.

To conclude, have your spectator open the paper envelope he/she still
holds and hand you the missing piece inside of it. Take the missing
piece, making sure it is oriented so that the dot is visible to you on its
lower left comer, and place it in the position shown by the dotted lines in
Figure 3 to apparently complete the right triangle puzzle. Congratulate
your spectator on his/her powers of E.S.P. as you place the missing piece
 back inside its envelope and the other five pieces back inside their plastic
envelope. By placing all five envelopes back into a convenient pocket, the
effect is reset for your next performance.

Horning in: Notice that the shape in Figure 3 is very similar to the shape
in Figure 2 except that it takes five pieces to construct the right triangle in
Figure 2, while six pieces are needed to construct the right triangle in
Figure 3. Even though they look alike, upon closer inspection you'll
notice that the Figure 3 right triangle is slightly wider than the Figure 2
right triangle. Just be sure that you disassemble and put away the
puzzles formed from the unchosen envelopes prior to assembling the
puzzle in the chosen envelope. In this manner, your spectators are
spared the luxury of direct comparison of the four puzzles, and thus the
discrepancies in the widths and the number of pieces will go unnoticed.

You may be inclined to overlook this effect because of its extensive

one-time preparation. However, if you do, you'll be passing up one solid
E.S.P. effect that's easy to do and instantly resets, which I guess makes it
the perfect trick for all you table-hopping mentalists out there.*

Marv Leventhars
SHAKE YOUR MONEY MAKER
ML: It's time to shake the dust off an old chestnut that just about every
magician I know has tucked away somewhere in his magic collection.
I'm speaking of the Money Maker, a plastic piece of apparatus that you
used to use to apparently print a dollar bill on a dollar bill-size piece of
blank paper (Figure 1, audience view). I say used to, because with the
following routine, you'll do much more with it and also garner a few
laughs along the way.

Before I explain the routine, let me relate a bit of history as to how it

came about. It was about a year ago that I was in Marvelo's Magic Shop
in Cuyahoga Falls, Ohio, and Ken Witter, a.k.a. Marvelo, asked me to
demonstrate the Money Maker for a customer while he looked something
up in a catalog. Having helped out in the past, I readily consented.

So I brought the Money Maker out to explain how it worked and then
began to crank a blank piece of paper through it. A l l the while, I
continued to ramble on about how great a contraption it was. Well, I was
so intent on my explanation that I initially failed to see what was
happening. Instead of the paper coming out the other side of the Money
Maker as a printed dollar bill, it was coming out as a shredded blank
piece of paper (Figure 2, audience view). When I looked down and
became aware of this fact, I was quite taken aback to say the least.

Needless to say, the customer found this very amusing. However, when
I looked around, I discovered that Ken was also having an especially
good time at my expense. I then realized that I had been taken in by the
old "I have to look something up in a catalog" ploy. Being a good sport, I
went along with the joke and, to make a long story short, I proceeded to
sell the customer a portable paper shredder instead of a money maker.

Later on, I got to thinking about how amusing Ken and the customer
found the shredding idea to be, and I thought that maybe I could take it
a step further. So I tossed around a few ideas, and with a little help fine
tuning them from Ken, I eventually came up with this routine.

Besides a Money Maker, you'll also require a small toggle switch, the kind
readily available at most do-it-yourself electronic stores, and a few other
items, which I'll mention later. You'll need to mount the toggle switch
near the top of the side of the Money Maker without the two knobs on it.
However, you don't want to mount it so it won't come off. It must be
mounted so that it can be fairly easily removed. To accomplish this, buy
a switch that has two small prongs protruding out the side opposite the
switch (Figure 3, previous page) and proceed as follows.

You'll need to bore two small holes through the side of the Money Maker
where you want to mount the switch. Here's how I did it. First mark
where you want the holes to go by pressing the tips of the prongs against
the side of the Money Maker just firm enough to leave a couple small
scratch marks (Figure 4). Don't press too hard or you might bend, or
even worse break, one or both of the prongs.

Now straighten out the first two bends from either end of a paper clip,
hold the unbent end between your thumb and fingers of either hand and
heat the tip of the straightened end with a match or lighter (Figure 5). To
prevent any possibility of burning yourself, hold the paper clip through
a towel or some other suitable insulator. Before the paper clip cools
down, make a small hole in the side of the Money Maker by pressing the
hot tip through the plastic at one of the scratch marks (Figure 6). Then
make a second hole at the other scratch mark. If all has gone according to
plan, you should now be able to mount the switch on the side of the
Money Maker by sliding the two prongs into the two holes (Figure 7). The
switch should fit snugly, but still be able to be removed fairly easily.

Since most magicians are familiar with the Money Maker, I'm now going
to jump right into the presentation. From that alone, it should become
evident what other items you'll need and what you have to do with
them. However, a short explanation will follow the presentation.

To perform, bring out the Money Maker, set it on the table, and begin by
saying, "Let me show you my latest invention. I call it my new and
improved money maker. It's new and improved, because it does things
that the old model didn't. The old model would only take a plain piece of
paper and print a real dollar bill on it. Now that's not bad, but this model
does much more thanks to the addition of this switch." Point out the
switch mounted on the side of the Money Maker. It should be in the down
position on the right side of the Money Maker from your perspective.

"This switch allows me to print extra zeros on a one dollar bill. Here, let
me show you what I mean. All I have to do is flip the switch to the up
position." After you say this, take a one dollar bill out of your pocket,
carefully flip the switch to the up position so that it doesn't come off the
Money Maker prematurely, and crank the one dollar bill through your
side of the Money Maker. Much to your audience's surprise, a ten dollar
bill will emerge out the other side. "See! It has actually printed an extra
zero next to each one on the bill to turn it into a ten dollar bill!"

Continue by saying, "Would any of you like to have a one dollar bill
turned into a ten?" With very little coaxing, if any, someone will say yes.
Have that person loan you a one dollar bill. As they hand you the bill
and you take it with your left hand, rest your right fingers on top of the
Money Maker to apparently steady it on the table. By doing so, the switch
should be hidden behind your right hand so that you can secretly flip it
to the down position with the base of your right index finger (Figure 8).
With your right hand still hiding the switch from your audience's view,
begin to crank the bill through the Money Maker from your side with
your left hand without taking notice of what comes out the other side.

As you crank, reiterate, "It's just this easy. You feed a one dollar bill
through this side and it comes out a ten dollar..." Time it so that you
have cranked about three-quarters of the one dollar bill through as you
say "ten dollar." Then look down, stop cranking, and abruptly stop
talking as you notice that the bill is coming out the other side sliced into
thin strips instead of being transformed into a ten dollar bill.

Say, "Gee, I don't know what could have happened," as you pull the
sliced bill out the other side with your right hand and quickly crank the
remaining quarter of your spectator's one dollar bill into the Money
Maker with your left hand. The end of the sliced bill will still be intact
(Figure 9). By pulling the sliced bill out with your right hand, you have
apparently saved the bill from being sliced all the way to the end. You
have also allowed the switch to come back into your audience's view.

Notice that the switch is in the down position and continue by saying,
"Ah, there's the problem. I must have accidentally flipped the switch to
the down position, but don't worry. The situation can be easily rectified
by simply flipping the switch to the up..." Time it so that when you say
"up," you attempt to flip the switch to the up position. However, instead
of actually flipping the switch, hold the base of the Money Maker firmly
on the table with your left hand, grasp the switch between your right
thumb and index finger, and then quickly pull the switch slightly to the
right and then immediately upward. The switch will come off in your
right hand as you apparently tried to flip it to the up position. Abruptly
stop talking for a moment or two the instant the switch comes off.

Acting somewhat sheepish at what has just transpired, continue by

saying, "But wait — I do believe the switch was in the up position before
it came off in my hand. In fact, I'm almost certain it was." As you say
this, twirl the switch between your right thumb and index finger so that
the switch appears to be in the up position. Now begin to crank the
sliced bill through your side of the Money Maker starting with the short
end of the bill that is still intact. As you do so say, "I'm sure everything
will come out alright." Then look down to see that the bill is now coming
out the other side sliced into confetti (Figure 10). Continue to crank the
sliced bill all the way into the machine as money confetti continues to
come out the other side. Once you're finished cranking, apologetically
say, I ' m so sorry. I guess I still have a few bugs to work out of it."

At this point, bring out a stack of envelopes and scoop all the money
confetti into the top envelope. Put the unused envelopes away, seal the
envelope with the confetti, hand it to your spectator, and put the Money
Maker away. Then as you pick up the switch to put it away, say as an
afterthought, "Wait a minute I have an idea! Maybe if I hold the switch
against the envelope and flip it to the up position, maybe, just maybe..."

Let your voice trail off as you take the envelope back from your
spectator. Hold the switch against its right edge in the down position
(Figure 11) and have your spectator flip the switch to the up position.
Then hand the envelope back as you put away the switch. Now request
that your spectator tear open the envelope and remove its contents to
reveal that the money confetti has been magically restored back into a
solid one dollar bill. Conclude by saying something like, "I don't know
how, but it worked," as your spectator displays the bill for all to see.

If you haven't figured it out from the presentation, here are the other
items you'll need for this routine: two regular one dollar bills, a ten
dollar bill, a sliced one dollar bill (Figure 12), a one dollar bill cut into
confetti-size pieces, and a stack of four or five letter-size security
envelopes. Prepare one of the envelopes by carefully cutting its flap off.
Arrange the other envelopes in a neat stack. With this stack of envelopes
seam side up, place one of the regular one dollar bills inside the top
envelope (Figure 13). Then nest the flapless envelope under the flap of
the envelope with the bill inside of it (Figure 14). At a glance the flap of
the envelope with the bill in it looks like the flap of the flapless envelope.

Prepare the Money Maker as follows. Load in the confetti a little bit at a
time; then load in the sliced bill; then load in the ten dollar bill. By
placing the Money Maker with the switch in the down position and the
prepared stack of envelopes in a conveniently large enough pocket or
your close-up case, your ready to perform just as described in the
presentation. When you feed your one dollar bill into the machine, a ten
dollar bill comes out. Feed in your spectator's one dollar bill, and it
comes out sliced. Feed the sliced bill in, and it comes out confetti.

There is one slight problem you may encounter when you try to load the
Money Maker. Its rollers may unravel, causing its contents to shift out of
place. If this is the case, you need to create some extra tension in the
rollers. To do this, you'll need some notebook paper hole reinforcers
(Figure 15). First glue several of these together to form a very thick
reinforcer. I had to glue six or seven together to create the right amount
of tension in my Money Maker. Then make a second thick reinforcer just
like the first one. Now pop the rollers out of your Money Maker and stick
one reinforcer over each of the two ends of the rollers opposite the
knobs. Then pop the rollers back into place. If you glued enough
reinforcers together, the rollers should have enough tension to keep from
unraveling as you load up the Money Maker with the ten spot, the sliced
bill, and the money confetti.

The only thing that remains to be explained is how the confetti is

restored into a regular bill at the end. This is accomplished by a simple
envelope switch using the prepared stack. You openly place the money
confetti into the flapless envelope, hold this envelope in place with the
thumb of your hand that is holding the stack, and pull out the envelope
behind it (the one with the bill in it) by pulling up on its flap with your
other hand (Figure 16). The flapless envelope stays in place. Of course,
security envelopes should be used to insure that you audience can't see
through the envelopes to identify their contents.

Horning in (DH): Even though Marv was pretty sure that he had
improved on Ken's original slicing idea, he still wasn't sure that this
routine was worth publishing. Then he showed it to some of the guys at
last year's Fechter's Finger Flicking Frolic convention, and it met with
some very favorable reactions. Everyone, myself included, encouraged
him to publish it. So if you don't like it, you have us to blame. I have
since seen Marv perform this several times for laypeople, and each time
they've seemed to enjoy it very much. It may not be in the miracle class,
but if you want a good piece of entertaining magic, you can't go too far
wrong with Shake Your Money Maker*
 FROM THE LABYRINTH
D H : " W h a t ' s i n a n a m e ? " T h a t ' s o n e of t h o s e p h i l o s o p h i c a l q u e s t i o n s
people ask w h e n they have c o m p l e t e l y used u p a l l other interesting
t o p i c s of c o n v e r s a t i o n . A l t h o u g h t h e r e are p r o b a b l y h u n d r e d s of o t h e r
THE MINOTAUR t o p i c s y o u , o u r v a l u e d readers, w o u l d l i k e M a r v o r I to w r i t e a b o u t , I a m
"Half Bull, Half Magic" a l m o s t c o n s t a n t l y i n v o l v e d i n t h e p r o c e s s of n a m i n g t h i n g s . S o y o u ' l l
M a r v Leventhal e i t h e r h a v e to sit t h r o u g h the f o l l o w i n g d i a t r i b e o r w a i t u n t i l n e x t i s s u e
Editor-in-Chief f o r M a r v to r e t u r n w i t h the m a x i m u m d r y - w i t - p e r - p a g e a l l o w e d b y l a w .

Dan Harlan M a r v a n d I ( w i t h the h e l p of o t h e r s ) a l w a y s t r y to select p e r f e c t n a m e s

Creative G e n i u s & Illustrator
f o r the v a r i o u s effects that a p p e a r i n these p a g e s . B u t w h a t c o n s t i t u t e s a
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S u b s c r i p t i o n s : T H E M I N O T A U R is
r e m e m b e r e d , r e f e r e n c e s the e f f e c t , a n d c o n t a i n s a b i t of h u m o r . A l s o ,
published at least quarterly or four times
a year, whichever comes first (more often m o s t of the w o r d s i n it s h o u l d b e g i n w i t h a c a p i t a l letter.
if w e feel u p to it). Single issues are $5.
Y o u can save yourself a couple of bucks A g o o d e x a m p l e f r o m this issue is Give Piece a Chance. T h i s p l a y o n w o r d s
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your check or m o n e y order in U.S. funds w o r d s c a p i t a l i z e d . S i n c e M i c h a e l D e M a r c o s e n t t h i s to u s w i t h o u t a
payable to T H E M I N O T A U R and mail to: d e f i n i t e n a m e i n m i n d , M a r v a n d I t o o k the l i b e r t y (as w e o f t e n d o ) of
p u t t i n g o u r c o l l e c t i v e b r a i n p o w e r t o g e t h e r i n a n e a r l y f u t i l e a t t e m p t to
THE MINOTAUR t h i n k of a n a m e . A f t e r h o u r s of c r e a t i v e s t r u g g l i n g p r o d u c e d n o t h i n g
P . O . B o x 470025 better t h a n That Amazing Missing Piece E.S.P. Thing, I h a d a r a r e m o m e n t
B r o a d v i e w H t s . , O H 44147-0025 of s y n a p t i c a c t i v i t y a n d s u g g e s t e d Give Piece a Chance. M a r v , q u i c k to
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Submissions: Your editorial
e n t h u s i a s m is d i f f i c u l t to a r g u e w i t h , so w e w e n t w i t h it.
s u b m i s s i o n s ( t r i c k s , b i t s of b u s i n e s s ,
essays, c o m m e n t s , anecdotes, fan m a i l ,
etc., and m a g i c a l r a m b l i n g s i n general) M a r v w a s e v e n l e s s i m p r e s s e d w h e n I w a n t e d to c a l l h i s t r i c k i n t h i s
are not o n l y welcome, but encouraged i n i s s u e Shake Your Money Maker, s o I h o p e a l l of y o u B l a c k C r o w e s f a n s
order to assure the future viability of this a p p r e c i a t e t h a t I s t u c k u p f o r y o u . B y the w a y , i f y o u h a v e a f a v o r i t e
fine p u b l i c a t i o n . Y o u r s u b m i s s i o n s w i l l o r i g i n a l effect that y o u h a v e n o t yet n a m e d , s e n d it to u s a n d p e r h a p s w e
be returned if a self-addressed, stamped c a n p r o d u c e the s a m e r e m a r k a b l e r e s u l t s f o r y o u . I p r o m i s e w e w o n ' t
envelope is included. n a m e it The Super Animated Signed Card into Sealed Carton of Skim Milk
u n l e s s , of c o u r s e , that's w h a t it is.
P e r m i s s i o n s : N o part of this publication
may be reproduced, i n any form, by any
I n a d d i t i o n to s t u f f i n T H E M I N O T A U R , I a l s o h a v e to n a m e e f f e c t s I
m e a n s , be it e l e c t r o n i c , m e c h a n i c a l ,
i n t e n d to m a r k e t . O n e of these i n v o l v e s c a r d s w i t h p i c t u r e s of r a b b i t s o n
p h o t o c o p y i n g , or even a p e n c i l w i t h o u t
t h e m t r a d i n g p l a c e s w i t h o t h e r s b e a r i n g p i c t u r e s of t o p hats. S u f f e r i n g a
the written permission of D a n and M a r v .
In a d d i t i o n , the m a n u f a c t u r i n g a n d temporary mental blockage, I requested help w i t h a name f r o m m y
commercial rights for all items contained f e m a l e c o m p a n i o n / p a r t n e r (the p o l i t i c a l l y i n c o r r e c t m a y s u b s t i t u t e
herein are reserved by their contributors girlfriend). After w e exhausted every lousy p u n i n v o l v i n g hare a n d most
and T H E M I N O T A U R . o t h e r s u s i n g b u n n y , w e a r r i v e d at the w o r s t — Hat Crossed Buns. It m a d e
u s b o t h g i g g l e u n c o n t r o l l a b l y u n t i l w e s t o p p e d , so I ' m u s i n g it.
A d v e r t i s i n g : Write to T H E M I N O T A U R
for a d v e r t i s i n g i n f o r m a t i o n . Please be In a n o t h e r n e w effect of m i n e , a c r e d i t c a r d p e n e t r a t e s t h r o u g h the center
s u r e to i n c l u d e a t e l e p h o n e n u m b e r of t w o d o l l a r b i l l s c r o s s e d o v e r o n e a n o t h e r . Just to p r o v e h i s v e r s a t i l i t y
where y o u can be reached.
at n a m i n g t h i n g s , M a r v s u g g e s t e d I c a l l it Hot Crossed Ones, so I w i l l .

THE MINOTAUR
T h e r e are a f e w n a m e s I ' d l i k e to r e s e r v e , e v e n t h o u g h I've y e t to i n v e n t
Copyright 1992
by M a r v i n J. Leventhal e f f e c t s to g o w i t h t h e m . O n e o f t h e s e i s Hotcakes, s o I ' m r e a d y w h e n
& Daniel D . H a r l a n p e o p l e ask h o w it's s e l l i n g . A n o t h e r is The Big Idea, b e c a u s e I c a n i m a g i n e
A l l Rights Reserved p e o p l e i n m a g i c s h o p s a l l a r o u n d the c o u n t r y a s k i n g , " H e y , w h a t ' s The
Printed i n the U . S . A . Big Idea?" N o w t h a t I t h i n k of i t , o n e of t h e m o s t a s k e d q u e s t i o n s i n
12/92-18 m a g i c s h o p s is " W h a t ' s n e w ? , " s o I r e a l l y o u g h t to c o n s i d e r n a m i n g m y
n e x t effect New. F i n a l l y , M a r v is r e s e r v i n g the n a m e One of Everything, so
e v e r y t i m e s o m e o n e asks f o r it, he c a n s e l l t h e m o n e of e v e r y t h i n g . 4