Cpmrev Choice

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As an effect this is not original, being another coincidence effect. However this method may appeal to many performers since there is no noting of any positions or counting to special numbers, or indeed looking at the face of any cards. The method is extremely straight forward and does not call for any intricate moves so loved by some card workers. You will of course need to practice but it is not difficult.

EFFECT:

A deck of cards may be thoroughly shuffled and handed to the performer, who then spreads for a card to be selected, noted, and returned to the deck. The cards are squared and cut, following which the performer asks another spectator to either give him a number, to which he will count for a second selection, or he can call stop as the performer counts the cards from the top of the deck. Once again the second card is noted and the counted off cards replaced on top, the deck cut and handed to a spectator to deal into two piles.

Following this the performer removes a card simultaneously from the top of each packet and turns it over, dealing the cards side by side on the table, face up. The spectators who selected the cards are asked to call stop when they see their cards. In fact they both call stop at the same time, showing that their selected cards turned up at the same position in each packet.

METHOD:

There is no preparation, so if you wish the cards may be shuffled at the beginning of the effect. On receiving the cards back the performer commences to run them from left to right, requesting a spectator to remove and note any card he wishes, and return it to the deck. When he has done this it is necessary to bring the chosen card to the top of the deck. The performer may have his own favourite way of doing this, but if not then an easy way is to hold a break above the returned card when replacing the top half, and double cutting the cards bringing the chosen one to the top. Now with no further moves the performer requests another spectator to give him any number and that he will count down to that number which will become the second chosen card. On being given the number the performer pushes the first card into his right hand, followed by the next card which goes under the first and so on until the number given has been reached. After the second card has been pushed off, under the first and chosen card, the deck can be slowly raised as you continue counting until the cards are facing the audience. As you push the card off at the number given by the second spectator, the first chosen card is pushed back onto the deck (see postscript). When the card at the chosen number has been noted, replace the counted cards back on top of the pack and square the cards.

Now if the number given was an even one, you do nothing further. On the other hand if it was an odd number you double undercut one card to the bottom of the deck.

The cards are now handed to a spectator to deal into two heaps, the cards being dealt alternatively to each heap.

The performer now removes a card at a time from the top of each heap, turning the cards face up and asking the spectators to call stop when they see their cards. Of course he is stopped by both at the same time.

NOTE:

It is better when turning the cards face up to expose one slightly in advance of the other. Performed in this manner when the first selected card is seen and the spectator calls stop, the card from the other packet can be turned over slowly to point the coincidence more effectively.

POSTSCRIPT:

This move I have used in many of my published effects, so the reader may be familiar with it. I first saw it in Brian MacCarthy's Slow Sleights, but it goes back to Stanyons Magic 1907. I also gave a description of the move in the Pentagram Vol. 1, No. 7 which involved a double lift not required in this effect. It will be readily seen that if the move is handled smoothly a spectator can stop you at any time during the count instead of asking for a number.

^Ihe^oc brief

Pat Page ... a word in your shell-like ears, if I may . . .

So, the old lady who charges 50p for a tea-cup 'reading' is nothing but a con-artist? And the likes of A1 Koran, Vic Perry, Maurice Fogel, the Piddingtons etc are 'honest tradesmen plying their wares', respected by magicians throughout the world? I'm sorry, Pat, but I cannot see the logic of your argument. It seems to contain a grossly unfair double-standard and, apart from that, your statement about magicians' 'respect' is open to question as the mentalists named above have all been involved in what many magicians seem to regard as con-artistry.

A1 Koran's name has been used as the 'author' of more than one ghosted book of pseudo psychic 'self-improvement' of the kind which makes our magician friends see red. Vic Perry is on record as having said and done things which caused magicians to shriek with horror and accuse Vic of being (I quote) 'a cheat, a phoney, and a disgrace to the profession'. Maurice 'Fortune Formula' Fogel was in the centre of a storm of controversy, twenty five years ago, about the 'ethics' of fooling the great British public. Fogel's arch enemy, at the time, was Arthur Helliwell, of 'The People' (famous for its high moral standards) who, shortly afterwards, started sniping at the Piddingtons. The Australian telepaths were constantly attacked by magicians, including big wheels in the Circle, who took exception to the fact that so many 'innocents' seemed to believe in the Piddingtons as genuine mind-readers. Now the same old story is happening all over again with magicians moaning about Uri Geller . . . who is, I'm sure, well pleased with the resulting publicity.-

My article was certainly not concerned with praising thieves. Read it again, Pat, and you'll find that the main point was magical effect. . . and my personal liking for authentic mystery and showmanship.

I hope I'll be forgiven if I keep the arguments simmering by leaving you with a few assorted quotes from some of the top names in the business

'Learn the art of cold reading and you can forget all the rest'. (Bill Larsen Snr.)

'Dai Vernon is possibly the finest mechanic of all times. Ed Mario is extremely clever and works well for magical audiences. But neither is a showman'. (Vic Perry)

'There are dozens of young men in London who can run rings around me with flourishes and sleights . . . but I get the engagements'. (Charles Bertram)

'The public doesn't want to learn that their heroes have feet of clay. Audiences want magicians to do magic, not tricks'. (Bascom Jones Jr.)

'This thing is impossible, yet you stand there and you do it! You are so confident, it's obvious you must have some power that the ordinary human being lacks. I don't think that is overstating the case'. (Al Koran)

'The sole purpose is to make people think that they are witnessing the impossible. That's magic'. (Dunninger)

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Fundamentals of Magick

Fundamentals of Magick

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