Leftovers

As I put the finishing touches on this issue. One of the hardest things to do properly when producing a magazine is the communication over phone lines. Harry and I have ensured that AT&T will make a profit this quarter. I filmed most of the material in September when I was in Boston doing a lecture. If you think The Menace looks good when performed, you should see it at 3:00 a.m. With your insistence low, it's a miracle.

I sent the first draft to Harry to proof. Michael Gowing then videotaped the corrections and forwarded them to me for the second draft. Without Michael's efforts, you wouldn't believe how many 3:00 a.m. variations you would have received.

While working from the original tape, Dawn happened to see Harry performing The Menace and mentioned that he next to mine, he had sexiest hands. I relayed this to Harry on the next call and it has become an ongoing joke since. He addressed the videotape to Dawn with the label For Dawn's eyes only! and addressed all his taped comments to her. I was put in my place as the lowly editor. Now Dawn watches all my magic videos, but watches Harry's at least five times daily.

As if this weren't enough, I have been spending a lot of time out of town of late. Paul Chosse called (who Harry thinks has the sexiest hands) to chat and Dawn gave him my hotel number in Jacksonville. He and Ron Bauer called and we talked for several hours — which thoroughly beat the other entertainment I had in mind to pass the time. I should add that this was after Paul talked to Dawn for about half an hour.

And, John Riggs always seems to call when I'm out, so he and Dawn converse about everything but card tricks. I'm starting to get a complex. Harry, Paul, John... You might as well add George and Ringo. Cut this out guys! I'm turning paranoid. Ah, the things I go through to bring you the best in magic.

One of the advantages of publishing a magazine versus publishing a book is that there is always a subsequent issue to correct one's mistakes. I would like to correct two. All of you received a notice with the last issue which explained the missing credit for the cover trick by Hiro Sakai. It should be clear that Hiro credited his inspiration for the effect to Paul Harris when he first explained the routine to me.

I sometimes list credits at the beginning of an explanation,and sometimes at the end. When I went to workonBandonthe Run, I planned to mention the credits at the end. When I got to the end several days later, I thought I had already mentioned the credits at the beginning.

Now, several months later, we are at the real end of the description. The inspiration for the effect came from Paul Harris's Inner Circle. By adding the locking action to the wrapping of the deck, the deck may be placed on the table away from the magician. It also makes possible the stunning penetration in the spectator's hands. Finally, it allows a freer handling of the deck throughout the effect since both hands are otherwise free to move, not being limited by the left second finger's grip on the pack.

I received the issues and my daughters stuffed the envelopes. I discovered the credit problem .0001 seconds after the last envelope was sealed. I held the issues, ready to mail, for several weeks while I decided how best to handle it. (This explains the reference to Christmas you received in February.) I discussed it with Bill Miesel and told him in jest that I was tempted to get a rubber stamp made with the note explaining the crediting. (Discussing it further, I figured that a label attached to the envelope would be the easier and cheaper way.) I thought that maybe I could start a trend — exterior credits. If you didn't like the credits that came with the magazine, simply trash the envelope. If this catches on among all the other magazines, I want the credit for the idea. Just place the credit on the exterior of any envelope and mail it to me.

I also want to add that Karl Fulves gets the credit for the Incomplete Faro Control in Jack Birnman's Super Sum. I get the credit for the incomplete credit control.

While I'm discussing the unfortunate things that have happened recently, I lost my hard drive on the computer since the last issue which caused me to miss about a month in the production of this issue. My hard drive and I were very close and it will be sorely missed — much more than it would have been had it been backed up recently.

In the spirit of crediting magicians established above, let me provide you the lineage of what I'm about to explain. I published my Airlift in The All

Leftovers Continued on page 758

Many of you may use the ring in key case which being flung against the wall. This forces the stone out, has been marketed for the last ten or fifteen years. It's giving you two things to chase after as the owner of a greatpuzzle because there is apparently no way that the ring contemplates a lawsuit. Meanwhile, her 6' 8"

the magician could put the ring in the key case in so husband contemplates flinging you against the same short a time span. On the down side, placing an wall. There must be an easier way. expensive borrowed ring (the more expensive the Here it is. While this is not totally self-working, ring, the more gold content, and therefore the softer it does not rely on mechanical assistance. It is a solid the ring) onto a key clip leaves something to be substitute for the above effect when you wish to do desired if you aren't careful. I also have nightmares it impromptu. In effect, a borrowed ring vanishes and about the gimmick breaking and the borrowed ring instantly appears hanging on the watch band of the magician. The reappearance is instantaneous and magical.

Requirements. This requires a leather watch band of the type pictured on the cover of this issue. The band should have an additional piece of round leather which encircles the band and floats along it. This is the piece used to tuck in the excess strap. Some watches have this piece sewn in place. You will want one where the piece floats along the strap. If yours is not constructed like this, you can add the floater. Also, if you find the buckle moves too freely, you may want to add a stitch or two to slow it down.

Encircle your wrist with the band. (For the explanation, we will assume the buckle end of the band is fastened to the top (far side) of the watch piece.) Rather than buckle the band, you are going to take the non-buckle end and tuck it into the inside the other strap, into the floater. See figure 1. The floater is only thing holding the watch to your wrist so you want to make sure you tuck the strap in securely. Notice that the buckle can either be laying against the wrist or angled out away from the wrist. This is important for what will follow.

The Work. When ready to start the effect, lift the left sleeve just enough to allow you to angle the buckle away from the wrist. Ask for the loan of a ring. A man's wedding ring is perfect for this (not to mention cheaper to repair or replace). Take the ring from the spectator in your left hand. Transfer the ring to your right hand, taking it in the Down's Palm. (Pretend to take it at the right fingertips.)

Hold the right hand up with your fingers pointing to the ceiling. Use your free left hand to slide the right sleeve up your right forearm. When you finish sliding the sleeve out of the way, pretend to transfer the ring into your left hand.

Being careful not to flash the palmed ring, use your right hand to raise your left sleeve. Your left hand should be palm down during the process. As you return your right arm to the right, rotate your left wrist palm up. You want the watch buckle to meet the retreating right hand as shown in figure 2. In this position, therighthandpasses directly over the extended buckle. Release the grip on the ring, allowing it to slide over the buckle. You are not dropping the ring as much as you are transferring possession. The ring does not do a free fall to the hand.

As soon as you have loaded the ring, rotate your

Figure 1

right hand palm up. Pretend to transfer the ring from your left hand to your right. You are moving slower than usual to give everything an air of cleanliness. While you rub the ring into nothingness with your right fingers, you can use your body to push the angled buckle flush with the rest of the band. This will hold the ring securely until the finish.

Reveal the empty right hand. Let the vanish sink in for effect. Slowly and dramatically rotate your left wrist so that the ring comes into the spectators' view. The ring is hanging from the band as shown in figure 3 which shows both the performer's and audience's view.

The Clean-up. The clean-up is one of the nicest

CONTENTS (FOR THIS ISSUE)

Time Travel — Scott Robinson Clocking In — Steve Beam Imported Kings to Aces — Yugi Wada A Puff of Smokes — Peter Schilling Double Hit — Steve Pressley

Subscriptions The Optical Location — John Riggs Right Here is Your Card — Bill Miesel Duet — Mark Fitzgerald Art From The John & Leftovers

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