Four cards are lost in the pack and rediscovered in a surprising way. Their values are used to produce a poker hand that has unexpected contents.
Run through the face up pack and remove the Ace, two, three and four of hearts, placing them face up on the table. Whilst removing these secretly get the five of hearts to the top of the pack.
Hold the pack face down in the left hand and use the right hand to arrange the four hearts in numerical order, the ace being on the face. Pick up the four hearts and push them face down into the centre of the pack, the left thumb making a convenient break for them to enter at the outer left hand corners. They must all go in together.
As the packet of four cards go into the pack push them in slightly diagonally, enabling the left little finger to get a break under the face card of the group (the Ace of Hearts) as the pack is being squared up. Cut the pack at the break point and complete the cut, retaking a break with the left little finger as the halves come together. From the point of view of the audience the four hearts have been lost in the pack.
The next sequence is based on Jack Avis's 'Spin Cut Aces' published some time ago in the original Pentagram. The right hand takes the pack from above, thumb at the near short end and the fingers at the far one, the thumb taking the break over from the left little finger. The left hand forefinger presses on the near short end of the upper half of the pack and pivots it out and round, the pivot point being the right hand second finger on the opposite short end. Once the upper half has twisted round it is allowed to fall on the palm of the left hand, the thumb of which presses on the face card of the right hand half and pushes it up and around the left hand long side of the half pack until it falls face up on the top. As the half with the ace now face up at the top is replaced on the half in the left hand, the left little finger retakes a break between the two halves.
Thumb off the Ace of Hearts and place it face up on the table. Point out that its value is one, so you will take the first card in the pack. Place this card face down on the table.
Replace the Ace of Hearts face down on the top of the pack. Give the pack a single cut at the break point and retake a break between the two halves as they come together. As you are squaring the pack after the cut, with the assistance of the right hand let one card drop from the face of the upper half to the top of the lower one, and retake the break at this point.
Repeat the Spin Cut to produce the Two of Hearts face up at the top. Place the two face up on the table and count down to the second card in the pack, placing it on top of the previous one removed. When counting to this card, count the cards onto the table.
Replace the Two of Hearts face down on top of the pack and the unwanted first card counted, on top of the two. Cut the pack at the break point, retake the break between the two halves and again drop one card from the upper half onto the lower one, retaking the break at this point.
Repeat the Spin Cut sequence to produce the Three of Hearts. Place the three face up on the table. Count down two cards onto the table and place the third one on top of the previous two placed aside from the earlier counts. Place the Three of Hearts face down on top of the pack and the two unwanted counted cards on top of the three. Cut the pack at the break point and retake the break between the two halves, dropping one card from the upper half to the lower, as usual.
Spin Cut to produce the Four of Hearts and place the four face up on the table. No need to hold a break at the centre any longer. Count down three cards onto the table, and place the fourth one on top of the three cards previously counted to. This time place the unwanted three counted cards on top of the pack FIRST, and finally the Four of Hearts face down on top of all.
Place the pack aside to the right of the table and palm the top card into the right hand. Scoop up the pile of four face down cards with the right hand adding the palmed one in this action. Square up the cards and hold them neatly squared in the left hand.
Say that if you have been lucky the four cards will have located a good poker hand. Pause, and then say "wait a minute, a poker hand contains five cards, not four." Spread out the face down cards into a fan saying "well,' they have found five."
Turn the face one of the fan face up, and place it on the table. Say "Now I wonder what four cards added to the Five of Hearts would make a good poker hand." Turn the four cards in your hand face up and lay them on top of the Five of Hearts to form a nicely displayed straight flush.
Vienna. . .what does the word Vienna mean to you? Does it conjure up images of Harry Lime or Gin and Lime? To me it meant Waltzes, Woods and wishful thinking of days gone by when the word elegance didn't mean denims studded with rhinestones. No doubt by now you will have heard that there was a F.I.S.M. Convention there. So was I.
And so was Billy McComb. We shared a room together. In fact we shared a bed together, and let me tell you he isn't the cuddly personality he portrays on stage.
A whole diary of the events will probably be listed in other magazines by now so let's look at a couple of items you may not have read about. First evening there, we went for a stroll through one of those delightful walkways they have in Vienna, traffic free, and littered with tables and chairs serviced by the adjacent cafes, and occupied in the main it seemed by beautiful young ladies. Surprise, surprise, we were just in time to see a crowd dispersing from watching a magician busking in the street. Another surprise, I knew him. Hans Wittus was the name and he hails from Germany and as soon as I mentioned that we had just missed his performance he proceeded to start another one.
Standing with his back to a shop window which was fully lit (it was around ten thirty in the evening) he opened a large canvas holdall and despite the fact that he was wearing jeans, proceeded to don top hat and tails and don't ask me why, but somehow, for a street magician, it looked right. For openers, he did a fire eating routine which was obviously designed to draw a crowd, and it did. This was followed by a very simple sponge ball routine using several ladies in the crowd, egg bag, Chinese sticks and closing with the Chinese rings. All very competently performed, taking perhaps fifteen minutes, and accompanied by patter in German with asides in English for the benefit of seven or eight English-speaking magicians in the crowd. It was the perfect opening to a week of magic, more so because it was totally unexpected. Thank you Hans.
We had been informed that there were two magicians appearing at a night club locally, the Moulin Rouge, soooooo one evening after the organised magical events had finished, the boy wonder in the company of Messrs McComb, Trevor Lewis, Paul Stone, Obie O'Brien etc. (I'm sorry if I included you in the etc.) made a bee line for the said place of entertainment which turned out to be small, circular, intimate, and with a balcony which completely encircled the room and upon which we were perched. The show started at 10.45 and finished at 2am and was a delight for all lovers of speciality acts. A glass balancing act, a hand balancing act, puppet act, trampoline act, a topless compere with the most powerful looking pair of lungs I've seen in a long time. Nice voice too. Three strippers also appeared at intervals, each one performing three times, plus our reason for being there, two magic acts.
The first actually appeared twice in the show. His first offering was small magic of the 20th Century silk, Stung, Evaporated Milk type, performed quickly and silently. His second act was his more familiar with productions of of mice, glasses of beer, trays of glasses of beer, a card castle type production of beer bottles, lota vase as a running gag and climaxed by converting a beer barrel into a very large bottannia. At the end of the act, after he had taken his applause he came back to pick up the bottannia and folded it up as he made his exit.
The other was a husband and wife act which is opened with the male half performing the Sun and Moon paper tear. Two spectators are invited up and in the course of performing the Three Cards Across they have their pockets picked. The remainder of the act consists of pocket picking in which the female half of the act also dips, which is unusual to say the least. Slick, professional and very pleasing.
Still another evening in a bierkeller in the basement of the Hilton Hotel I had the pleasure of watching a French magician, (who, coincidentally, is also a pickpocket) Gerard Majax perform thimble magic CLOSE UP. Yes, he has actually devised a thimble routine for table work. Vanishes, productions, colour changes, they are all there with a handling that is quite different to what one would normally expect from this type of magic. It was a tonic.
Auf Wiedersen Patrick Page
The magical powers of a ten spot card are demonstrated when it manages to draw out ten cards of the same colour from a mixed packet of cards.
Reading from the top of the face down pack have ten red cards followed by approximately ten black cards. The exact number of black ones is not critical. Make sure that there is a ten spot in the mixed up face section of the pack.
False shuffle the pack retaining the top stack in position. I recommend the overhand jog type shuffle.
Run through the pack from the face and remove a ten spot placing it face up on the table. This action gives the spectators an opportunity to see that the cards are well mixed Square up the remainder of the pack and place it face down on the table. Talk about the card you have removed having strange powers which _vou will now demonstrate.
Cut off about one third of the main pack, iientioning that as there is some dealing to be done you will use a small packet of cards in order not to make the trick too tedious. You will of course cut into your stack somewhere among the black cards, the exact point being nimportant.
Explain that you would like a spectator to deal the packet of cards into two heaps in a completely haphazard order. For example, he could deal two to the first heap, one to the second, three to the first then one to the second, and so on, until the packet is finished. Make sure that he understands that although he can deal out the two heaps as he wishes, the cards must be dealt singly. Demonstrate what you require of him by dealing two heaps yourself, stopping when you have dealt ten cards. Gather up the two heaps which you place on top of the packet keeping a little finger break below them.
Place the tenspot face up on top of the packet you are holding and cut at the break sending it to the centre. Hand the complete packet to a spectator and request him to commence the formation of the two heaps as previously explained. Tell him to deal out the complete group leaving the ten spot face up and dealing it to whichever heap he wishes. Point out that as he can form the two piles in any fashion he is obviously mixing the cards very thoroughly.
When he has completed the dealing pick up the pile containing the face up ten and fan them out until the ten shows up. Place the ten face up on the table by cutting off the ten and all the cards above it with the right hand. As the ten is left on the table place the remaining cards in the right hand below those in the left and get a left little finger break between the two sections.
Pick up the other pile from the table in its unsquared condition and put it on top of those in the left. As the right hand is squaring the complete packet carry out the Paul Curry 'Top Pass' from his book 'Paul Curry Presents' at the break point. This pass fits in very well as you appear to be tapping the upper section of cards on the lower one to square them up. If you do not use this particular sleight any other pass will do that cuts the packet.
Stress the mixing by the spectator before moving towards the climax of the effect. Count off ten cards from the top of the packet after first touching the face up ten spot on top of the group. Turn over the ten cards to show they are all of the same colour. The magic ten spot has drawn out ten cards of the same colour from the mixed packet. Say, "Not only has it the power to draw out ten cards of the same colour it has drawn out every card of that colour." On the last word, turn the cards remaining in your hand face up to show they are all black.
if: This is not a trick, but an interlude to be inserted into your Ambitious Card routine. If you do not have an ambitious routine, you can use the sequence on its own as a lightweight trick.
The effect is that the spectators visually see a card travelling from the face to the top of the group of cards.
Let us assume that you have already made the top card travel from the centre of the pack to the top a few times, you now offer to let the spectators see how it gets to the top. The card being used as the ambitious one is at this moment second from the top.
Double lift to show the card is back on top and then turn it face down onto the pack again. Remove the top card and place it face down on the table explaining that you will now let the spectators see how the card travels from the centre of the pack to the top.
Cut off about half the pack with your right hand and place the remaining half aside. Grip the cards in the right hand from above the thumb being on the near long edge and the fingers on the far one, and with the aid of the left hand spread the cards out evenly in a lengthwise direction to form a spread as shown in the sketch (1).
Make the spread as long as you can remembering that the cards must be supported in their spread condition with the right hand alone when the left hand is removed after getting the cards into position. The grip of the right hand does not change, the thumb remaining on the near long edge and the fingers on the far one.
Place the spread on top of the ambitious card lining it up exactly with the face card of the spread. Keep the right hand grip on the cards but reposition the right forefinger so that it rests on the back of the top card as in sketch (2). Now call attention to the thumb side of the cards and with a fairly even pace, riffle the cards with the right thumb from face to top. An illusion is created of a card moving along from face to top of the group. Lift up the long side held by the left thumb for about an inch and a half before letting the cards drop from the thumb and when you reach the top card remove it and by releasing the right hand finger grip on the outer long edge let it flip face up catching it between the thumb and forefinger of the right hand, sketch (3).
You will obviously have to adjust the viewing single to enable the spectators to see the illusion, and I find the easiest way is to carry it out well over to the right of the table, so that the right thumb side is in fact facing the spectators.
Five cards are selected and the assisting spectators subjected to a simple lie detector procedure which results in the performer revealing the names of their chosen cards.
The upper section of the face down pack is arranged from the top as follows. Any five spot cards from the suit of hearts, any five spot cards from the suit of spades, any five spot cards from the suit of diamonds, any five spot cards from the suit of clubs and then any five face cards followed by the remainder of the pack. Whilst the values are not important they should be well mixed.
False shuffle the pack retaining the top twenty-five cards in position. Spread the top five cards and hand them to spectator No.l. Hand the next five to spectator No. 2 and so on, until five spectators have five cards each. Stress that they should keep their cards face down so that you cannot peek any of them.
Request each spectator to mix his cards, then look at the top one of his packet
remembering it, and finally to mix them up again. A helpful line to prevent them from looking at any other cards in their group is to say, "Please do not look at any other cards in your packet, because I want the strongest possible impression made on your mind by the image of your card."
Take back the groups in any order placing one on top of the other and cut the complete groups a few times. You can even let one of the spectators gather them together if you so wish.
If you do a faro shuffle, straddle faro the group a few times with cuts between shuffles. The number of straddle faros you do will not affect the outcome of the trick but may affect the interest of the spectators, so I suggest you keep it to two. If you do not use a faro (there is a good description of the sleight on page 8 in Vol. One No.l of this magazine) any false shuffle that will keep the cards in order will suffice. If you cannot do either a faro or a false shuffle just cut the packet a few times.
Deal out the 25 cards into five face up hands of cards, dealing from the face down packet in the conventional fashion as when playing a game of cards.
Explain that you are going to try an experiment in lie detection, and that spectator No.l is to call out the five cards in the hand containing his noted one, prefacing each name with the phrase, "my card was not the."
State that you will turn away whilst the cards are being called out, and try to decide which statement is a lie.
It is a simple matter to know his card because it will be the only spot heart he calls out. Play up the lie detector angle, his voice hesitated etc., etc., before actually naming his card.
Follow a similar procedure with the remaining four spectators. No.2 spectator's card will be the only spot spade, No.3 the only spot diamond, No.4 the only spot club, and No. 5 the only face card.
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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.