## Abular

GQie ¿Magazine of Close-up£JWagic

Wol. INS 2 Oct. 1974

iribbee coincidence edwSrd marlo

EFFECT:-

Taking two decks, which have been shuffled and cut, the cardician holds one in each hand, from above by the ends, about a foot or more above the table. He dribbles the cards onto the table as he requests a spectator to call "Stop." Turning the portions he has remaining in his hands the face card of each is the same. This same procedure is then repeated with two selected cards, one from each deck, with spectator calling "Stop" when the face cards of each remaining portion are shown to be the selections. For the climax it seems the performer has missed. However, on turning over the top cards of each tabled half it is found they match in suit and value.

The above effect came about years ago when strictly by chance it happened to work. For awhile, that is, the way I did it, taking a chance I would be lucky. More often it just didn't happen, therefore I started placing mate cards at duplicate positions in each deck, then using an estimated dribble hoped it would come out the same at each point. Again, while the percentage of success increased, it did not work out much too often. Then crimps were tried and while this worked out on one deck at a time it did not assure this for both decks at the same time which is what makes the effect strong. Later, short cards and long cards were experimented with and here again it was only a sometime thing. Finally, I hit upon a solution that made the effect work every time, thus making it practical to the point that a routine was formed to get the most out of the effect, and at the

same time indirectly prove, to a layman or a magician, that what you performed was not just chance, or luck. The secret is a thick card, or two cards rubber cemented together. Make two such cards, one from each deck, making sure that the face of each is identical. For example the 7S can be the face card of each thick card. Naturally you will make one for a Red deck and one for a Blue deck. In order to have all the values you will of course, cement jokers on to the backs of the 7S cards. You will find that the thick cards can be anywhere in either deck, yet by letting them riffle off the bottom (here both right and left first fingers press down onto the top of each deck as left and right second finger tips and thumbs in the usual springing action let cards escape from between the fingers and thumbs which hold the ends of each deck) you will encounter a sudden stop as the thick cards fall off the bottom onto the tabled portions. It will make no difference if the positions of these thick cards differ from each other. Practise so that you will get a fairly soft stop as compared to a sudden 'plop' sound. This will mostly be how much downward pressure you exert with the curledfirst fingers on top of each deck. Once you get the feel you can then set-up for the following routine:-

1. Set up each deck, from face to top, with a IOC at the face of each deck. Second from the face or bottom are the thick cards. In this example both showing a 7C. This is a simple and easy set-up to make during the course of other effects in which you may be using the thick card as a locator.

2. Riffle shuffle each deck keeping the two bottom cards of each intact. If you prefer an Overhand Shuffle, merely hold back, with the left fingers, the bottom few cards as you go into the shuffle. With both decks tabled ask a spectator to cut the deck and complete the cut. Try to get him to cut about half or less so that the thick cards become more or less centralized at least on this phase of the effect.

3. Pick up one deck in each hand from above by the ends. Dribble off onto the table each deck as you say, "When I do this I want you to call 'stop'." By this time both decks should have been completely dribbled off since this first time it actually is dribbled not sprung. This ensures no 'stopping points' as you pass the thick cards. It also gives you a sense just where each thick card lies.

4. Square each deck again taking them as before in order that spectator may call 'stop' as you dribble the decks onto the table. This time, however, you RIFFLE off or sort of spring the cards of each deck as they fall onto the table. There is little in the way of timing as you will find the spectator will say "Stop" fairly soon since he doesn't want you to run out of cards. In fact, if he stalls and you have passed your thick card, then just let al! the remaining cards riffle off, practically dropping them onto the table. Look at him and say, "One more time." Re square each deck and get set to riffle off the cards as before. This time he is sure to stop you just as the thick card falls onto the table and the riffle off just stops automatically.

5. At this point I have debated whether it is better to turn both hands and disclose the face of each card at the same time, or to first turn one hand palm up, call attention to the card stopped at, then turn the other hand to show the coincidence. Try it both ways, then use the way that gets the best reaction for you.

6. You have concluded the first phase. The cards from your hands are placed face down onto the dribbled cards. Next square up each deck and table it in front of yourself for a riffle shuffle. Lightly riffle upwards with either right or left thumb until you feel the thick card go past. Cut off the cards above the thick card to either left or right and riffle shuffle leaving the thick card on top. Repeat with the other deck. Thus you have a thick card on top of each deck,

7. You will now go into the second phase dealing with selected cards. You must get the selections controlled so they go on top of the thick cards. There are many ways to do this and here is only one way. Cut each deck so the thick cards go into the centre of the decks. Pick up one deck and spread it between both hands as you request a card to be selected. After it is removed you continue spreading the cards until the left fingertips and thumb can feel the thick card. Break the deck at this point, holding a SPREAD of cards in each hand rather than two squared halves, so that the selection goes BELOW the thick card. Square up and place this deck aside for the moment. Repeat the above selection and return with the other deck.

8. You have a thick card ABOVE each selection. Pick up the deck with the first selection. Table it in front of yourself for a tabled riffle shuffle. Locate the thick card, as already explained in Step 6, then riffle shuffle leaving the thick card and selection on top. Pick up the deck and in an Overhand Shuffle run off the thick card, and the selection followed by shuffling off the rest of the deck. The thick card is now on the bottom with the selected card ABOVE it. Table the deck and have spectator cut it completing the cut. Repeat the same control sequence with the other deck. The thick cards are now in the centre of the deck and above them each selection.

9. Here repeat the dribble procedure as in the first phase, except in this case, since one spectator may cut shallow, and the other deeper, you may find that the packets remaining in your selection may differ greatly from each other. Point this up by calling attention to this fact. Somehow it makes an impression and adds to the mystery. Eventually disclose the first spec

tator's card and then the second spectator's card. Dribble off the cards onto their respective halves. The thick cards are somewhere in the deck and you are all set for the third phase.

10. Try and get a spectator who Overhand Shuffles a deck. In this case you can hand him a deck telling him to freely shuffle. Take the deck and merely table it. Repeat with the other deck. In the event you may be apprehensive about this part, then you Overhand Shuffle. Make it clear you are not controlling any card or cards but do not say this. In fact, if you do an Overhand Shuffle, then hand it to a spectator saying, "Here, you shuffle it in case you don't trust me." Chances are he will Overhand Shuffle. If he starts to table it quickly say, "No, shuffle it."

At the same time indicating with your hands an Overhand Shuffle. As a rule they will follow suit as most card men know.

11. Take a deck in the left hand and lightly riffle upwards with your right thumb to ascertain the position of the thick card. It it's fairly near the centre leave it there. If not, give a casual cut to centralize it. Repeat with the other deck. All that remains is to go through the dribble procedure as already detailed. This time, when both hands are turned over the chances are that you will not have a coincidence, if you do, stop right there. (This can happen if you managed to get mates above each thick card and take a chance that the cards will remain together during the spectator's Overhand Shuffle.) In this case you say, "No, not here, but here," as place the cards in hand aside and turn the top cards of each tabled portion to reveal the coincidence. The routine is now ended, but your use of the thick card need not since it makes an excellent locator.

Well now, where were we? Yes, Johnny Paul. Like most British readers of magical magazines I had preconceived ideas and notions of Johnny Paul. I had read in the now defunct Sphinx Magazine an article, complete with photographs, describing his beginnings in the magic game, his years behind a bar in Chicago, the gags, the stunts, the zany ideas he would come up with to please the paying customers, but nothing I had read or heard about this man prepared me for my first and so far, only, meeting with Mr. Paul. A big man, (to me, everyone is big) a handsome man, white hair, pink complexion, steel-rimmed spectacles, and a charming (and disarming) personality.

There I was, stuffing coins into the mouth of a one armed bandit in the Showboat, Las Vegas, when Mike Caldwell (that's the one who doesn't do close up, but has a wife I'd like to) walks in from another room and tells me there's someone he'd like me to meet. As I followed his footsteps with visions of Vegas showgirls going through my mind, I suddenly come face to face with this man who looked like a successful business man. How right I was. He knows his business better than anyone I know. "Meet Johnny Paul", says Mike.

After a few pleasantries, he asked if he could borrow a bill and at that moment I realised that Mike had set me up. For those of you who have never read a description of Johnny Paul's bill trick, may I say that he does practically everything it's possible to do with a bill. He tears it up, he restores it, it gets bigger, it gets smaller, it stretches, it jumps off the floor, the only thing that didn't happen was that President Jackson's picture didn't produce a dove, and if it had, I wouldn't have been surprised one little bit. After the bill trick, cards. The only way to describe Johnny Paul doing card tricks is to say, incredible skill and unbelievable misdirection. When you watch a man like this and try to describe it later you suddenly realise just how limited your vocabulary is. (I know that YOU realised it after you read my last article). He doesn't actually do tricks, they happen. He will top change at the drop of a hat, steal a card thirty seconds after you think he has it, then discover that he didn't, but has, when you know he couldn't have.

Let me explain it like this. After kicking a deck of cards around for ten minutes or so, he had me select a card, replace it, after which he leaned the deck against a glass, and the card rose out of the deck. I KNOW it was a Devano deck and I KNOW I had shuffled the deck previously, therefore I KNOW he must have switched the deck on me, but I swear to God that when I saw that card rise all I could say to myself was WHEN?????? That's Johnny Paul.

I have now run out of space, but before I do, may I mention that the British Ring IBM Convention has just finished. No doubt you will read all about it elsewhere in this offcolour, sorry, offwhite publication but I wonder if mention will be made of a trick which I didn't see anyone perform but consider to be one of the highlights of the Convention, wherein a picture of a selected appears on a photograph on a Magic Club membership card, plus plus, plus. It's a good, good, good, good.

Patrick Page

Patrick Page

When you are ready to perform and nobody except you knows it you have two options. One is to wait and see if you are asked to do something; the other is to take the initiative and lead into it yourself. Bearing in mind we're not all Slydinis or Vernons the former choice can sometimes take quite a while ... So what you need is an

Which is what it says — something to break the ice in company and make it possible for you to lead into your magic and bamboozle the pants off them. Here is a good one from Pabular's Fred Robinson who works it to perfection. Cunningly steer the conversation to the subject of predicting the future, saying that you can sometimes predict human behaviour. As you speak take out a packet of tipped cigarettes, and putting one cigarette on the table you write a prediction on one side of the pack not allowing anyone to see what you write. Place it face down on the middle of the table, or bar, mentioning that you feel you have written about something soon to happen. Pick up the single cigarette and feel about in your pocket for matches or a lighter, which you fail to find. Catch the eye of someone who smokes and ask for a light. When he is ready you put the wrong end of the tipped cigarette between your lips keeping your eyes off it as you do so. Lean towards the proffered flame as if to light up. At this point someone is sure to point out your absent-mindedness.

Say nothing, but reach over and turn over the cigarette packet to show your prediction of two words: "I KNOW".

ted danson

"There is a destiny that shapes our ends" — or so the Poet tells — but is it Fate, Luck or just Chance? An interesting question to which we'll try and find an answer. Three envelopes each containing a treasury note, only one of which is genuine. Two are counterfeit notes — play money. "Madam, Sir, given a choice which will it be — fate, luck or chance — the decision is yours etc. . .etc. . ." When opened the envelopes chosen by two members of the audience are found to contain imitation banknotes, whereas that of the magician contains the genuine one.

The plot will be familiar to you, not so I hope the method! Three envelopes each containing an imitation banknote are sealed to within an inch of their right-hand corners (to facilitate opening) and are boldly marked FATE, LUCK, and CHANCE respectively on the address sides. The genuine note, assuming pound or dollar size, is folded once lengthwise and then concertina pleated to fit snugly underneath a loose-fitting finger ring worn on the third finger of the left hand. Experiment will determine the size of ring to be used, remembering that it has still to be worn after the note is removed. In practice you will find the note is adequately concealed by the natural curl of the fingers, thus permitting a considerable freedom of handling, allowing the envelopes to be spread fan-wise at the fingertips and freely passed from hand to hand during the course of your patter.

Immediately before opening, the magician's envelope is held at about the centre and wedged between the note and underside of finger. To reveal note, thumb of right hand tears open flap and in one continuous movement second finger is inserted inside envelope, whilst first finger and thumb move down the outside grasping the

note (see illustration) and immediately it is clear of the ring, fingers and thumbs of both hands start to unfold it, using the cover provided by the partially crumpled envelope to prevent the audience seeing the note in its tightly folded state. When fully opened, note is displayed at the fingertips, and the envelope casually tossed to one side.

stanton Carlisle colour^psycholoqy

Here we offer a close-up effect which can be presented equally well by the magical entertainer or the mentalist.

The effect, briefly described, is that four pay envelopes are exhibited and placed on the table. Each is already sealed and the only noticeable difference between them is a coloured paper-gummed seal affixed to each, and each is of a different colour.

Three spectators who sit around a table with the performer are given the choice of the numbers 1, 2, 3 or 4. They may each choose a different number but the one remaining will be the performer's. There is no force.

Once the spectators have made their final choice of their numbers, having been given the opportunity to change their minds in the time-honoured manner, the performer shows four cards bearing the numbers 1, 2, 3 and 4 respectively. The number which has been chosen by each spectator is laid before him, and the remaining card of whatever number is placed in front of the performer.

Each spectator in turn, (say, clock-wise around the table) is asked to turn his card over and on the reverse is a coloured seal identical with one of the envelopes. He takes the envelope with the same coloured seal that his number card duplicates. All three have an envelope and open them in turn to find, as one possible denouement, 'Hard Luck' messages. Finally, the performer's envelope is opened, either by the performer or a spectator, and is found to contain a five pound note.

Alternatively, a chosen card turns up in the performer's envelope. We have no doubt that the reader will find sundry other uses for this 'non-force' force.

The 'mechanics' are simple as no sleight of hand or clever moves of any kind are required.

You will require a number of different coloured gummed stickers, four envelopes, and sixteen blank faced playing cards. On the envelopes different coloured stickers are attached, say red, blue, yellow and green. In one of the envelopes put the 'fiver', it could be anyone, but we will assume it is the one with the green sticker attached. Consolation messages are inserted in the other three, and all four are sealed.

Divide the playing cards into four sets of four, numbering each set with a single digit one to four on the blank face. Coloured stickers similar to those used on the envelopes are stuck on the backs of the playing cards as follows:-

Set 1: No.l Green - No.2 Red No.3 Yellow — No.4 Blue

Set 2: No.l Red — No. 2 Green No.3 Yellow - No.4 Blue

Set 3: No.l Red - No.2 Yellow No.3 Green — No.4 Blue

Set 4: No.l Red - No.2 Yellow No.3 Blue — No.4 Green

Sets 1 and 2 go into the inside right jacket pocket divided by a piece of post-card larger than the cards to prevent a mix-up. Sets 3 and 4 go into the inner left jacket are similarly kept apart.

It goes without saying that whatever number the performer is left with after the spectators have made their choice he removes the corresponding set number from his pocket, e.g. if they have chosen No's 1, 2 and 4 he removes his No.2 set.

By placement as we have indicated, this is an almost instantaneous action and gives no reason for suspicion.

As in all effects of this nature, the 'talk' IS the effect. It is therefore up to the reader to interpret his 'timing' to either indicate that the cards were in evidence beforehand or to deliberately state, 'I have some numbered cards in my pocket' and take them out quite openly. This is a matter for personal decision the outcome being the same in any case.

Quite obviously, by preparing the colours on the backs of the numbered cards in the manner suggested and then taking the correct set, no memory work as such is called for. It also follows that no matter what colour stickers appear on the backs of the spectators numbered cards, the performer must of course, triumph.

We would suggest the 'patter line' be along the lines of colour-psychology, hence the title, and the performer can stress, at his option, to have placed the colours on both especially for this entertainment due to some 'premonition' or whatever that indicated to him the need to place the fiver in the yellow envelope and to fix its twin to the numbered card . . . thus indicating that he knew in advance which number he would be left with.

If the reader really wishes to come on strong by doing exactly the same thing he can claim, should he wish, that this meant he knew which THREE NUMBERS WOULD BE CHOSEN.

Having never had any problems arising from performing this effect as described, I see no real reason to alter it, but depending on the number of pockets available, one can place set one and two in the right and left jacket pockets, and sets three and four in the trouser pockets.

Purists may feel that the sets should be kept in small photographic wallets or even pay envelopes so that they seem to be a set carried for a particular purpose. If the idea interests the reader, he may choose for himself. No Force.

BOB'S BUSINESS for biting the plate

Remember the old gag with the coin under the plate? It's snapped against the plate as you pretend to take a bite.

Well, the variation is to do the same thing with a glass of beer.

The coin is clipped to the side of the glass with the right second and third fingers. It is held away from the glass with the forefinger, and when released it snaps against the side of the glass. This sounds exactly as though you have bitten a piece from the edge of the glass.

This is startling enough, but an addition that really makes the stunt is this.

Have a few ice cubes in the beer to start with. Cop a mouthful of these before you pull the stunt, click the coin, and when all eyes are focussed on the glass, which is now at your mouth, slowly remove the slivers of 'glass' (really ice) from your lips.

This is an old stunt buried in a magazine — I can't recall which, and published I seem to remember before 1920.

tonjr^ocSlyels cthe case-for^cozemqe

'What strange things are brought to passe by naturall magicke' (Reginald Scot).

I am an unforgivably wicked man, in the eyes of many 'magicians', because I am far too fond of magic. The exploits of someone like, say, Uri Geller are, to me, far more entertaining and enjoyable than the embarrassing posturings of the average 'Great Bummo' and his peachy-poodles or dayglo-dyed doves. When it come to books, I would regard something like 'SUPERNATURE', by Lyall Watson, as being worth at least a dozen publications of the 'FARO SHUFFLES ARE GOOD FOR YOU' kind . . . and Blatty's 'THE EXORCIST' is, in my opinion, vastly superior to any piece of literature, so far written, which features magic-as-illusion.

Because I am so fond of magic, I like people to believe in it, to respect it, even to be slightly frightened by it; so I tend towards mentalism rather than 'straight' conjuring . . . and applaud, with affection, the crazy, defensive morality of someone like Madame Moyer, in the 'Memoirs' of Dan Mannix, when she says: 'Those debunkers who claim all mind readers are lazy crooks ought to see the time we've spent steaming open envelopes, listening in for hours on party lines, and digging in garbage heaps for old letters.' Conversely, I would offer a loud raspberry and the sign of the horns to such self-righteous witch-hunters as James Randi and William Rauscher who consider it 'ethical' (for a few pieces of silver) to shout from the rooftops that mentalists are fakes and liars.

People should be given their money'sworth, and a person is more likely to be satisfied by something in which he or she has a certain amount of faith . . . especially if the thing is personalized. Because of this, a fairground

fortune-teller would appear to give better value, in terms of pure mystical enjoyment, than the ubiquitous feather-flower merchant. However, most of our magical 'brotherhood' would put cold-readers and working 'seers' in the same pigeon-hole as pickpockets and highwaymen. The reason Ijeing that most 'magicians' are, basically, anti-magic.

Magic is the art of producing surprising effects, either (according to my dictionary) 'by means of the occult powers of nature, or by the application of natural causes, whose operation is secret'. Given a quick reading, that appears like a pair of separate and essentially different definitions; the first applying solely to the fairytale wizard-figure, and the second to the show-, biz trickster. But the word, 'occult', means 'secret', and 'nature' means that which is natural; so we have a single definition of magic, with just one all-important meaning: the art of producing surprising effects by secret means. To hell with 'method', 'effect' is everything. That particular homily has been repeated time and again, over the years, by some of the wisest men in the business . . . Ted Annemann, Bruce Elliott, A1 Koran, and many more. Perhaps repetition has blunted its power in the minds of many 'magicians'. This would seem to be so, because, even though it contains the true essence of magical philosophy, its message is constantly and boringly ignored.

A magical effect is surprising because it plays havoc with the average spectator's ideas of what is logically possible. In much the same way that recent scientific discoveries have dealt a body-blow to Newtonian physics, magic knocks the stuffing out of 'safe' normality. The 'performer' who is constantly reassuring his audience that 'it's only a simple trick', whilst

Continued on next page

'THE CASE FOR COZENAGE'

insulting everyones intelligence with his boringly 'fun-packed' grotesquery, should be stripped of the title, 'magician', and re-named 'Twit', or something similar but stronger. Personally, I think that most of the characters who call themselves magicians are light-years away from the real thing.

Because I have this terrible liking for magic, any list of my favourite modern wonder-workers would include such assorted names as Ray Harryhausen, Herbie Brennan, Paul Huson, Georges Franju, Israel Regardie, Immanuel Velikovsky . .. and others of their kind; names which mean little or nothing to most dedicated take-a-cardsters.

I love the idea of a mysterious mountain being made out of a mundane mole-hill, and I sincerely believe that the little old lady who sees signs and portents in the damp tea-leaves at the bottom of her cup is a more magical personality than the dinner-suited, amateur 'entertainer', with his gaudy props and gag-book patter. The old lady is an authentic part of the age-old thaumaturgical tradition, but the fellow with the conjuring tricks is just another third-rate 'turn'.

If you want to understand the true nature of the magician, study the tarot card that bears his name. He is Mercury . . . Hermes and huckster in one . . . Arlecchino . . . mountebank and magus , . . manipulating the cups and balls in a way that demands more than mere sleight of hand. He is the master of surprises, the archetypal cozener and spirit of pure sorcery . . . the MAGICIAN.

On the 38th Annual IBM Convention

For Close-up magicians the convention began when they reached'Hastings and stepped out of their cars or trains (for many it probably began even before that.) In a hotel bedroom, bar, pub or in the street it doesn't matter: the action begins.

Pabular was there and through a haze of cigarette smoke and alcohol at the Queens Hotel we saw some really good Close-up magic. Gala show headliner John Calvert showed he could hold his own with the best at close-up too, doing superb sleeving whilst stealing a spectator's wrist-watch. Beautifullly done, leaving the helper absolutely clue-less. It's good to have the big names mixing with the rest and it was obvious that both he and us enjoyed it. Whenever the Dutch boys are around there's something new. Bob Driebeck took our photo with a lot of funny business that we can't describe for space reasons. Tony (Anverdis' assistant) showed a two pack effect in which he and spectator pushed a card each out of their cards and they matched. Then he did it again. And then again, with Tony pushing his card out first. This caused a lot of head scratching. We think a pack switch must have been there somewhere but it was a wonderfully clean routine with a knock-out effect. He also showed a 'prediction' with a 1 inch die and box - whichever way you put the die in the box it lifts out with a predicted number on top (- not the one you put in!). No moves, no hurry, no switch and you can examine everything. Frans Biemans suspended a light bulb in a handkerchief which lit up over a chosen card and only went out when the invisible wire was 'cut'.Peter Kane stretched a Queen of Clubs placed cross ways between two other cards. David Wright has been reading'Sex and the Single Magician' and has devised a couple of effects which he has given to Pabular — if we can get them past the censor. Ken Hawes has not been the same since he saw Andy Galloway perform some time ago and has analysed some of the reasons why Ramsay was successful. If he comes on like this he will really have something of value for both himself and us who enjoy being deceived. Bob Ostin is good company and is full of ideas (often about tricks we are doing).

We've probably left some good names out -we're writing immediately after the event and future thoughts may remind us of some important things we saw. We'll leave the last mention to Frank Giles who had a beatiful method of performing the Coins through Table - without a table! He does it on any board or menu card standing up, surrounded. Great.