Card In

This is nothing new but the routine is logical and extremely entertaining. It makes use of old principles such as the tearing off of a corner from the card, apparently in order that the spectator will be able to later verify which card was selected.

Confused? You won't be after reading the complete routine ...

You'll need a duplicate card from which you tear a corner. Take a ballpoint pen, remove the ink cylinder and replace it with the rolled up duplicate.

Place the pen in a suitable pocket and place the extra corner in the same pocket also. You are now ready to perform . . .

Force the duplicate of the card in the pen on a spectator and ask that he sign his name across the face of the card, just in case he later forgets which card was selected. Remove the pen and hand it to the spectator but at the same time, fingerpalm the corner.

Rest the hand containing the corner at the edge of the table as you patter to another spectator. The spectator trying to sign his name on the card will soon tell you that the pen does not work.

Apologise and, as an apparent afterthought, tear a corner from the card and hand it to the spectator as you explain that it will later identify the card.

You of course' switch the corner actually torn from the card for the one you had finger palmed!

It is now a simple matter to vanish, destroy or otherwise get rid of the remainder of the card and later have it reappear within the pen, which has been lying on the table throughout! Pascal points out that he occasionally changes the card into the ink cylinder. As soon as the change has taken place, he looks at the spectators, then the pen etc.

A simple comment that... If you have the inside of the pen, then . . . will be enough to make the spectator open the pen and find the card within. He has only to place his comer against the card and will discover that somehow it is the card he previously selected.

Ed ... I liked the touch where the pen failed to work and thus the tearing of the card seemed to be quite logical.

72 pages containing 46 fantastic card and coin routines. £10.00 Post paid. From Stephen Tucker, 33A, Steeles Road, Chalk Farm, London NW3. England.

September 10th 1983 I'VE SEEN A RUBBER BAND

This idea isn't really a trick, it's a gag that you can pull on your fellow magicians. You'll need the smallest rubber band that you can lay your hands on. The type used on folding coins are ideal but even some of these are too large!

For this first idea you'll need a small object that would normally fit into a thumb-tip. A small coin is ideal.

Before you begin, you should slip the rubber band over your thumb so that it occupies the position that the edge of a thumb-tip would occupy if you were wearing one. Fig:l shows this position.

You should be wearing the band for a few minutes prior to performance. This results in the thumb growing red above the elastic and the result is that it appears as if you are wearing a thumb-tip!

I know you don't believe me but you'll have to try it!

Show the coin to the magician/spectator and explain that you'll show him a new vanish. During your opening remarks you make no attempt to hide the appearance of your thumb, in fact you want him to see the thumb!

Vanish the coin either by sleeving, lapping etc. but make it appear that you are using a thumb-tip.

It only remains for you to show the absence of the coin and wait for his cry of, "Thumb-tip, thumb-tip!"

Finally you reveal that you are only wearing a rubber band!!!

It doesn't sound like much of a finale but I

can assure you that any magician will laugh his socks off when he sees what fooled him!

If you wish to make it a complete mystery, you could slide the elastic off and allow it to fall unseen to the floor!

If you do this, don't forget to wait a few seconds for your thumb to return to normal!

Another strange use for the small band is .. . Take a match and, with a penknife, cut a small notch into the head of the match. Be careful when doing this or the match may ignite!!

Now encircle the match with a band as shown in Fig:2.

From a short distance the band is completely invisible. Now offer to demonstrate a strange (3) experiment in static electricity.

Remove the gimmicked match from the box, plus an ordinary match as well.

Extend your left forefinger and position the gimmicked match onto it as shown in Fig:3. Ask a spectator to hold the match box as you strike the ungimmicked match. You now comment that, due to static electricity, a strange thing will happen when you light the other match.

With the burning match light the gimmicked one-and you'll be amazed to find that the instant the match ignites ... it is hurled, still burning, across the room!! It really is a strange sight to see and I strongly urge you to give it a try. Pascal points out that he sometimes uses it just as a stunt but usually uses it to start the Domino effect, previously detailed in this issue.

When using the match missile, he simply props up the pile at position:4 with the single card, aims the match at the single card and lights it.

The effect is really spectacular!

just riffled off. The card is up-jogged as before but this time the card is up-jogged for about 1".

Finally . . . pick up the third card and appear to insert this directly beneath the second but, as before, you riffle off two more cards and this third card is inserted directly beneath these. It is up-jogged for.about %" and the situation is as shown in Fig:l.

Fig:2 shows a side view of the situation.

If you now push the upper card flush with the second card, nothing will happen but if you continue and push the two upper cards flush with the lower card, a card will be plunged out of the other end of the deck and towards you. The card will be pushed out for a distance of approx 14".

In fact this card is a double. I.e . . . two cards squared as one!

Finally you push the upper three cards square with the deck and a second card emerges from above the first at the inner end of the deck. As before, this card is in fact a double and will be in-jogged for about Ms". As this second card emerges, it will push the first in-jogged card further out of the deck.

This final situation is depicted in Fig:3

STAIRCASE November 7th 1983

This is a nice application of the Plunger Principle. The result is thai two selected cards V , are switched for tWo indifferent ones.

Have the deck shuffled, take it back and deal the top three cards face down to the table. Explain that these three random cards will be used to select two cards from the deck.

Pick up one of the cards and riffle down the deck as you request a spectator to call stop. Once he stops you, insert the card into that point in the deck but up-jogged for about W\ As you pick up the next card, riffle off two more cards and insert the card apparently directly beneath the previously up-jogged card but in fact it is inserted beneath the two cards

and both of these cards are in fact doubles. You explain that these two cards will be used for the effect and you remove the lower card(s) squared as one, show their face and flip them face down onto the deck. Immediately deal the top card face down to the table and this selection has been switched for the indifferent card just dealt.

Repeat the procedure with the other double and the result is that the top two cards of the deck are the selections and the two tabled cards are indifferent.

A simple application of the event would be to insert the tabled cards into the deck and show them to have apparently risen to the top.

The application will of course depend on the effect you wish to perform.

Ed . . . The method of selection is a little strange so I suggest that you use the Stewart James' Further Than That.' patter theme.

I.e. . . Have the cards shuffled, deal off the top three cards and explain that most magicians would use these three random cards but you go further than that. Insert the cards into the deck at the point stopped at by the spectator and explain that some magicians might use the cards above and below the three cards in the deck but you go even further than that etc. . . .

AND FINALLY February 20th 1983

Pascal also showed me a few other routines and ideas but space prevents me from detailing them in great depth so I'll try to give you the bare bones and hope that you can understand them.

Ace cutting . . . Place a face up Ace at positions 10, 20, 30 and 40 from the top of the deck. Note . . . These positions can be approximate so long as the Aces are equally scattered throughout the deck!

The four Kings should be on top of the deck and you're all set to perform . . .

Explain that you'll try and cut to the Kings, then perform four false cuts, dealing the top card face down to the table at the completion of each cut. Flip the four cards face up and they are the four Kings. Obtain a little finger break above the lowermost face up Ace, pick up one of the Kings and place it face up onto the deck. Slip cut it onto the lowermost Ace and assemble the deck again.

Repeat this with the other three Kings but slip cut them one above each of the face up Kings remaining.

Explain that you have buried the Kings face up so that the spectator can see that you really are cutting to them.

Transfer the deck from the left hand dealing position to the right hand Biddle grip and allow small packets of cards to drop from the bottom of the deck and onto the left hand. Eventually a packet with a face up King on top will land on the left hand cards, you now table the rest of the cards from the right hand and flip the face up King, with the face up Ace beneath it, face down anddealthe new top card face down to one side.

Repeat this for the other Kings, each time switching in the Aces.

The dropping of the packets from the right hand is something that you will get the feel for after one or two practice runs.

Hand the rest of the deck to the spectator for shuffling and explain that you will now find the Aces. End by picking up the four face down cards, flipping them face up arid revealing the Aces!!

Another idea of Pascal's is to use Flash Thread. Simply take a length of flash rope and tease away a single strand, in much the same way as you do with regular thread.

Pascal occasionally uses the flash thread with his Card through the table routine, just to make sure that no thread remains to give the game away.

He also uses flash thread but of a thicker variety to apparently pull a loose thread from his jacket. He comments that it is very dangerous to smoke when wearing the jacket as it is extremely combustible. He now lights the thread and whooosh!!

Pascal fooled me again with a one way deck but not on the backs, on the faces!!

He showed me that on most decks the faces of the cards are not printed in the exact centre of the card. This means that by looking at the distance from the index to the edge of the card you can determine if the card has been turned around as in the usual one way principle. Simply set all your card faces so that they are the same way round, then have a card selected and returned the other way round . . . End as you would with a regular one way deck.

Tm going to make one more attempt at the four minute yard/"

A couple of weeks ago I had a wander around London's Covent Garden area, and was pleasantly surprised to see a street magician performing. From memory, he did Stick to Silks,*a Ring and Rope routine, Professors Nightmare, Card Manipulations, a Three Ring Routine and closed with Zombie. The whole bit lasted somewhere between ten and fifteen minutes, and was very well done except for angle problems with the cards and Zombie, which was a pity. He didn't seem to care that perhaps seventy-five people were standing behind him and could see everything they shouldn't see. He was young^perhaps twentyfiye years old, and with his ability I would have thought he was capable of replacing the cards and Zombie without too much trouble. One of his problems perhaps, was the fact that he performed silently to taped music. If he is afraid to talk, he has the problem of replacing five or six minutes of material, silent. I still think it's a pity.

Having said that, imagine my surprise to receive a phone call a couple of days later asking me to do just that. Busk. I did busk, once, many years ago, for fun, but this was the real thing, and these days I wouldn't even look at a trick unless someone yiras going to pay me. It was the local council, (City Hall to U.S. readers) who said they .would pay me a nominal figure and allow collections from the crowd.

There were two of us, the other one being a friend of mine who does a bit of clowning and magic, and we were to do our bit as and when we felt like it outside the Fulcrum Theatre in Slough, a small town a few miles outside London. It wasn't a raging success, although it did pay the rent that week. One of the major problems, was the fact that it wasn't a tourist area, it was more or less in a shopping mall. Mel Harvey & Presto the Magic Rabbit were performing a one and a half hour kid show inside the theatre and the parents were obviously dumping the kids in the theatre and dashing around the stores to get back in time to collect them at a time which coincided With our packing up.

I don't envy anyone who has to make a living that way. They earn every penny, although 5 as I have already said, a tourist area where people have more time to spend just looking around would obviously be a much better bet. But then, I don't gamble.

A thought. You probably want to know what I did. Yes? O.K. Miser's Dream, Sponge Balls, Balloon Animals (one actually) and Chinese Rings. Want to know something? I coijjld have earned a lot more if I had just made one balloon animal; and sold thgm direct. Everyone who had a kid there wanted one.« There's a lesson in there somewhere. Now go and make yourself some money.

Recently I also did a job in a house at a private party. It was a birthday party for a.forty year old man. They booked a conjuror,.(their word) because they had discovered that the gentleman in question had never had a birthday party in his life ahd he asked specifically for a conjuror because he had envied all his school friends when they had birthdays complete with conjuror. It was a roaring success.

About a week later I read an article in the newspaper in which a trendy young lady was giving advice on how to entertain your guests at a party. After all the usual advice on what to feed them with etc. she suggested several ideas on how to occupy or amuse them and right at the end of the list she suggested, "or you can even book a conjuror". She then went on to explain that she had been to a birthday party for a forty year old and was amaz6d to discover that a whole room full of adults were fascinated by, and were completely entranced by this conjuror. She couldn't believe*how silent they were for the entertainer. I don't know who this conjuror was, it could have been me. As she never mentioned his name we will never "know. Another pity.

Why did I bother to mention this? I'll tell you. I have a gut feeling that, in London anyway, we are about to see a revival of house parties for adults, where they will book entertainers, and there aren't too many acts who can fill the bill. Jugglers don't go down too well. Singers need accompaniment, tap dancers are out. We are almost the only acts who can do it successfully Be prepared.


Patrick Page

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Fundamentals of Magick

Fundamentals of Magick

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.

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