This is the second idea along the same lines and is very effective when used in with Cards to Pocket or the Four Aces to the pocket or even two selected cards to the pocket. By this feint and with only one palm two cards can be produced from two different pockets.
1. Assume you have two cards palmed in the right hand.
2. The left hand grasps the left lapel as in the above description.
3. The right hand enters the coat on the left side and quickly deposits both cards into the left hand clip position.
4. The right hand now removes one of these cards and reproduces it from under the left side of the coat.
5. Keeping this card in the right hand, or merely tossing it aside, the right hand now grasps the right side of coat and the left hand travels across with its palm clipped card and reproduces its cards from under the right side of the coat. Thus with one palm you have produced two cards from two different pockets.
We use the above two card ideas in a card to pocket routine for the vanish and reproduction of the last two cards. Also we have evolved several Aces to Pocket Routines which utilizes this idea. We mention this for those students who may wish to do likewise and experiment along these lines. In conclusion it is hoped that the cardician will find much he can use from this chapter on Palming.
This now brings us to the conclusion of our second chapter on Revolutionary Card Technique.
yours, Edward Mario
All the methods of control herein with a few commercial exceptions are those in which the pack is held at the fingertips Of the left hand by the lower left corner. The right forefinger riffles the upper right corner of the pack while the spectator calls 'Stop'. The card stopped at is noted by the spectator, then the rest of the cards are riffled off and the pack squared. From under such apparently impossible conditions the cardician locates the card.
Several methods will be described in order that the student can have a variety of such controls. By intelligently mixing them, as the occasion demands, his actual methods will be completely covered so as to leave no possible solution as to the actual modus operandi.
Our inspirational source for these methods came from an effect of Charlie Miller's , over fifteen years ago, called the 'Daribury Deviler'. While basically a brilliant idea we found that having the spectator doing . the peeking increased the element of risk; therefore, it was then that we decided to use the forefinger riffle in order to more surely force the approximate position desired. This we found, after many years, is still the best way to handle this type of work and the idea was first applied to an effect about ten years ago in a manuscript titled B.G. DAUB and it 1b here that the principle of the riffle type, peek and also force first made its appearance.
The methods that follow will, at times, use the performer's pack and at times the spectator's borrowed deck. The cardician will eventually decide as to which of the methods are most expedient for him.
Before proceeding with the actual ideas it will be necessary to give the details preceding the Basic Position.
1. The deck is held face down, from above by the ends, with the right hand.
2. The left hand seemingly squares the sides as these fingers run along these sides. Actually the left thumb bevels the pack at the upper left side so that it will be as in Fig. 1. The left thumb presses towards the
Pack beveled by-
left thumb and fingers left thumb and fingers
right while left fingers press inwards toward the left and this double action applied to the upper ends of the deck is what at upper corners gives it the necessary bevel. This bevel need not be too great but rather the normal one used far the standard peek.
3. The right hand keeps holding the deck from above by the ends, while the left fingers And thumb take the pack, between the left first and second fingers and thumb, at the lower left corner. The third and fourth fingers are curled into the palm. The position is shown in Fig. 2.
The right forefinger riffles the upper right corner of the deck, letting the cards, fall from under this finger, while the spectator calls 'Stop'. The riffling action is shown in Fig. 3*
5. When the spectator calls 'Stop', the riffling action is halted by the right forefinger in order that the card now stopped at can be noted. The card haying been noted, the right forefinger slowly riffles off the rest of the cards thus losing the selection.
6. The right hand now again takes the deck from above by the ends, then lowers it down into the left hand into a deeding position. From here the subsequent location of, the card follows and it depends on the principles being used.
The original methods almost depended solely on estimation. In other words the spectator peeked,at a card and the operator tried to estimate its approximate position that is whether it was tenth or twentieth, etc.
Fr^a here a little fishing as to color value etc., «A the card was eventually located. In moat cases spelilag the card out seems the most popular. Hie methods that follow are based on estimation but are surer because they are based on FORCED ESTIMATION.
FIRST METHOD: 1. Hold the cards as in Fig. 2 in readiness for the Finger-Tip Peek.
2. With right forefinger riffle the upper right corner as in Fig. 3 as you say, "While I do this I want you to say 'Stop' at any time you like." This first has been more or less ah indicatAry gesture as the right forefinger riffles off all the cards without giving spectator a chance to say 'Stop'. It also conditions the spectator to say 'Stop' sooner than he normally would.
3. Once again holding the pack in the Basic Position you request a 'Stop' call. As you riffle the front end you time it so that as you reach the center of the deck, about twenty-sixth card, the spectator will call 'Stop*. k. Knowing that the choice has to be Bomewhere around the twenty-sixth card, it is an easy matter to locate the exact card by the usual series of questions.
5. It must be pointed out that forcing the 26th position is almost automatic once the timing for this spot Is developed. It seems as If It almost stops around that lcular spot of its own accord.
Once the card is known to be In the central position, you can shuffle off about thirteen cards, then hare the card named end spell down to it.
7. A good use of the 26th card riffle force is to have about six known cards at 24-25-26-27-28-29 positions. These cards can be of alternated colors and suits so that when ape of these cards is noted you cfcn easily locate It or even name it without looking thru the deck; however, a ouch better proceedure is to have these cards all spell with one more letter than the card before it. In this case, once one of the cards are noted, the top fourteen cards are shuffled off, the deck handed to the spectator and he can mentally spell out his card.
8. If you will just place the following cards, AC-10H-^S-QH-5D-QJ), Into the 2U-25-26-27-28-29 positions you will readily get the idea.
Using the Forced Estimation Idea it is possible to locate two cards that have been looked at while the cards are held at the fingertips.
1. Bold the pack In the Basic Position.
2. low riffle the upper cdrner of the deck but force a position anywhere near the bottom, 10 to 15 cards, for a spectator to note one.
3. On the second spectator, force the top position, 10 to 15 cards, for him to note a card.
The pack is now squared and cut at the 26th Card and a Faro (Perfect Shuffle) is made. This shuffle adds to the fairness of the proceedure.
5. Turn cards towards yourself as if to look for the cards. Actually $ount to the 26th card and cut deck at that point. If the cards that were noted have been between the 10 and 15 positions they will now be, the second card, somewhere among the bottom eight cards and the first card somewhere among the bottom eight cards. From here it is~ up to the individual how best to arrive at the exact card.
Naturally having read this far the reader is probably all set to throw the whole idea up for grabs but we assure you that the methods become more and more practical and surefire as we move along. SECQND METHOD: This one makes use of the Imperfection Principle. In every pack you will find one card that will have a mark that stands out as it is beveled. This mark may be either at the left side of the deck or at the top end of thie deck. Once such a card is spotted the next thing is to cut to it and note, its name. The name of the card having been ascertained you call now proceed to do some miraculous locations.
1. Have the pack shuffled, then upon its receipt bevel the deck to spot the location of the edge marked card.
If the card is too near the bottom, cut the pack to bring it up in the pack.
2. Hold the deck at the fingertip in the^Basic Position. Riffle the front end and time this so that spectator will stop you Just as you reach the imperfection.
3. Naturally you know the name of the card so it is easy to locate it or Just name it. Of course, you are not finished using the card as it can still be used hut this time the spectators will be noting different cards.
k. In this case you keep forcing the cards around or near THE edge marked card. In other words two or three cards either to the front of it or to the back of it. *
5. It is an easy matter to bring the card to the top by » a series of straight cuts until the correct card lands on top. A proceedure of spreading the cards between both hands as you say, "Somewhere in the deck is your card,"
then In closing the spread the left fourth finger obtains a break over the proper card. A cut or shuffle brings it to the top.
6. A subsequent card or cards can be controlled with the first one by getting the marker back to the center of deck. Now another card is noted in the same manner as before with you noting how far away it is from the edge marker.
7. Again spread deck between both hands and in closing it up get a break above the selected or peeked one. Now cut the deck at the break and place the two halves on the table. A riffle shuffle, to keep the top cards of each section, is now made and two cards are now on top. As has been pointed out a third and fourth, etc., cards can be controlled to the top, over onto the others, by a repetition of these sequences. (NOTE: Any of the Control Systems can be used-here.)
Sometimes you can spot two or three such imperfection cards. In this case note their names, then distribute than thru-out the pack. Using the Time Riffle you force each of the edge-marked cards. Knowing their names you caq name them or produce each one in any way you see fit. Also with two such markers you can have them in different sections of the deck later, but this time you have cards noted close to each of the edge marked cards. These can then be brought under control using the spread to enable you to get a break above each selection. From here you can use the CONTROL SYSTEMS. THJLK1) METHOD: The basic idea for this third method was first brought to light in a small manuscript titled FUTURE REVERSE. It makes use of a short corner card with the short corners being in the upper right corner and lower left. In other words, opposite to the standard short comer as used by magicians. This opposite short makes possible some of the most Incredible control of selected cards far beyond any of the standard methods using such a device.
1. First make a corner short card with the short corners in the upper right and lower left as the card lies face down.
2. Insert the card into the center of the deck. Bold deck in Basic Position (Figs. 2-3) and you will find that there Is a sudden stop as the right forefinger hits the short card. This sudden stop plus the element of timing is all that is necessary for a successful execution of this control.
3. Have the short corner 00 top or bottom of the deck as
you shuffle. After the shuffle cut the short into the center. Using the time riffle the card next to the short will be the one noted.
If. Bring deck down into left hand dealing position and in seeming to square it the right thumb riffles, lightly and as noiselessly as possible, the inner left corner of deck until the passage of the short card is felt. Here the left thumb releases one more card, the noted card, of course, so that it becomes the top card of the ones below the break.
5. Cut the deck at the break but as the cut is completed the break is still held between the two halves, At this point the selected card is on top with the corner short second. A break is held by the left fourth finger between the halves. The next cut, which first appeared in a manuscript titled UNKNOWN will leave the selection on top but bring the corner short to the center again.
6. The right hand takes off the upper portion, or the cards above the break, but the left thumb keeps pressing onto the top card so that while the right hand does take all the rest of the cards the top one of this section is held back so that it becomes the top card of the left hand portion.
7. The right hand now places its half of the deck to the bottom of the left hand portion. The noted card is on top and the key card is back in the center ready to be used for the second card.
8. Using the same cutting of the deck as per Steps U-5-6-7, the second card will be brought to the top with the first and the key or short will be"back in the center for the next selection.
9. Using this system it is possible to force any number of known cards, yet have each known card under control. To try this out, just place any five cards of a suit,from Ace to five, on bottom of deck. The comer short is,of course, the lowermost of these or the actual bottom card.
10. Shuffle the deck keeping the five bottom cards intact. Cut to the center and force the first card which, should be the Ace.
11. Riffle to short corner card, then use the cut as explained in Steps ^ to 7 inclusive. Repeat the process four more times when you will not only have forced five known cards but also sot then back under control. By having these five cards each to spall with one wan letter than the next, starting with a ten letter card such
as an Ace of Clubs, you can shuffle nine cards over the five and all are set to spell automatically. 12. By running four cards over the stack, then giving it one Faro Shuffle each card can be spelled to providing each is discarded, face up, as it is spelled out. This handling is preferable to the first. We believe that us-i ing only three such cards should be sufficient. , The above method should find favor with those who do not object to using short cards and if they do not object to one then two should also be quite welcome.
1. With two such Opposite Corner Shorts have both on top of the pack.
2. Shuffle the deck, preferably table riffle shuffle, keeping top short cards.
3. Pick up deck and hold it face down in left hand. Now take the top card and bury it about fifteen cards from the top. The next top card is taken and inserted about fifteen cards from the bottom. The two cards from the bottom of deck are also taken and buried somewhere in the deck.
U. The whole of Step 3 is ostensibly done with the idea that you should have no knowledge of the top and bottom cards. The two short cards are now set in their positions.
5. Hold deck in the Basic Position and riffling the upper corner you force the card in back of the first corner short. Release the cards after the card has been noted. The second card is now likewise forced. Actually jrou do not know the names of these cards but they can easily be brought under control as follows:
6. With right thumb rifflg the lower left corner of the deck to locate the first short card near the top. When it is reached you place all the cards above it on the table. Now riffle to the second short but this time cut the packet in your hands. Thus you have one selection on the botton-of the cards in your hands and the other, second selection, Is on the bottom of the cards on the table. All you need to do is riffle shuffle the two portions together keeping the two selections in order on the bottom. This will be referred to as Cut and Riffle Shuffle whenever it is needed to bring two cards to the bottom.
To Force two known cards in the above manner yet shuffle the deck it Is only necessary to have the cards to be forced above each short card. Thus the four cards are kept on top of deck during the shuffle. Now
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Magick is the art and practice of moving natural energies to effect needed or wanted change. Magick is natural, there is absolutely nothing supernatural about it. What is taught here are various techniques of magick for beginners. Magick is natural and simple and the techniques to develop abilities should be simple and natural as well. What is taught on this site is not only the basics of magick, but the basics of many things.