Editorial

Hell Really Exists

Hell Really Exists

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April 1984

Hello again and welcome to the next issue of Pabular, just in case you thought your eyes deceived you!

This month's issue has been delayed due to the recent ill-health of our resident artist, Eric Mason. You'll all be glad to hear though, that Eric's out of hospital now and well on the road to recovery.

This month we brush shoulders with Alex East, Barrie Richardson, Henrik Specht, Roy Walton, Roberto Giobbi, Martin Breese and Stephen Tucker (Me).

99% is card magic with a few non-card effects thrown in for good measure. Bad news about the Phil Goldstein one man issue I'm afraid this will be set back a little due to the recent upheaval into a new apartment in America. He promises to get the material to me in the not too distant future as soon as he finds his typewriter amongst all the packing crates!

The David Britland one man issue has also been set-back due to lethargy on Dave's part. I keep kicking him to get it finished but so far to no avail.

Several people have acosted me at various conventions about missing Pabular issues. In future, all enquiries re: subscriptions, missing issues, in fact anything other than actual contributions, should be forwarded direct to Nick Bolton at the address on the back cover.

Did you manage to get to the Blackpool convention last February? If you did, we probably met at the Pabular stand. This year I was asked to perform in the close-up arena. I enjoyed it, though conditions were much the same as in previous years bad lighting, . terrible acoustics (I was nearly hoarse at the end of the day!) and the fact that all 8 tables were performing in unison made it almost impossible to be heard.

Still, taking all these gripes into consideration, I wouldn't have missed it for the world!

I couldn't help but smile at the cover of. last month's issue is Eric trying to tell us something?

Anyway, I've rambled on long enough. Now for the reviews

Wonder Material This is in fact the lecture notes on Tommy Wonder. 8 x A4 sized pages of text with no less than *96* accompanying illustrations by the author.

The toss up paddle move is a nice, flourishy method of showing a fake penknife to be the same colour both sides but the move's a little hard to master and one wonders (No pun intended) if there aren't enough such moves already available.

Thanks to Paul Harris is Tommy's handling on Paul Harris's Ultimate rip off from his book Supermagic. About a year ago Tommy showed me this and I was quite stunned. He mainly concentrates on the restoration of the torn card and believe me ... it's good!

Lighter to matchbox basically speaks for itself. A cigarette lighter refuses to work as you attempt to light your cigarette. Instantly it changes into a box of matches, which you open, remove a match and triumphantly light the cigarette. Pure logic! It's just what a real magician would do if he could!

Shrinking box is just another shrinking card case for you to make up. It's no better or worse than any other I've seen.

Falling Pips is described though I don't see why as the routine with special cards has been marketed and is available from most leading dealers. The effect is cute, not a mind blower but it will raise a few eyebrows . . . You spread through the face up deck and the cards appear quite normal. Tapping the cards square on the table results in the pips literally falling to the bottom of the cards in a heap. The magician apologises, taps them the other way and they are back to normal. You could make the fake cards using card-Letraset.

2 second card fold again speaks for itself. It's another method of folding a card into a small packet right under the spectator's noses. I like this!

Squeeze is for me the highlight of the notes. I've seen Tommy perform this many times and the audience react the same every time applause!

The card case shrinks and you comment that you can't understand how the cards came from the box in the first place. You now attempt to squeeze the Poker sized deck back into the miniature case and you succeed!

Recalcitrant is a non-DIY man's nightmare!

The effect produced far out weighs the effort needed to make the various fakes. The routine is ideal for opening a manipulative card routine and there are no back palm card productions, so often used to open such an act.

You remove the cards from the case and the case vanishes but it keeps reappearing throughout your performance repeatedly! and much to the annoyance of the performer.

Diminishing cards would you believe that this is a diminishing card routine? Well, it is! Using a most ingenious set of fakes, the performer gradually shrinks his deck into nothingness.

Balls This is not the most apt of titles for the routine, though is quite accurate! Basically it is the production of the first three billiard balls in a much longer routine. It embodies many colour changes and can be performed on stage or close-up.

The big one is the production of a big ball up to 10 inches in diameter! This is a very clever idea and is in fact a collapsable ball that can be fully opened instantly. l214

Tails Topit is the final item in the notes and details Tommy's design for a Topit fitted into a Tail coat. With this clever design, which not everybody will want to use, he has solved the problems of bulging loads and incorrect hanging.

I thoroughly enjoyed the notes and can attest for the effectiveness of most of the items detailed. You can order the notes direct from the author at J. Bemelman, 116, 2161 RS Lisse - The Netherlands. (Cost is £5.00 S7.00).

Review

When at the recent Blackpool convention I managed to get my hands on a copy of the Paul Harris Video tape from Martin Breese.

This is the second in the Tannen's Magic Manuscript Video Series. (Cost is £50.00.)

I have always been a Harris fan and was really looking forward to getting the tape home and jamming it into the video. I thoroughly enjoyed the entire tape, which consisted of pre-published routines from the myriad Harris books.

The effects performed were . . . Super Swindle, The Bizarre vanish, The side winder card, the ultimate rip-off, Micky mouse math, Reflex, Cards across, Solid deception, The Bizarre Twist, A visual card transportation from Gose-up Kinda guy, finally . . . Overkill, which was performed by Frank Garcia at the conclusion of his tape just to whet our appetites. Like I say . . . I really enjoyed the magical content and Harris comes over as a shy but extremely humorous individual. Just as I expected he'd be!

Martin has recently received a new master copy from the States and the quality is excellent. He tells me that if anyone has one of the inferior original copies that were sent out to avoid delay, they can return them together with £1.00 to cover postage and he'll send them a new replacement.

If you are a follower of Harris you will be well pleased with this tape. The patter presentations alone are worth the price.

The playing time is 55 minutes, including explanations and the cost is £50.00 post paid. It is available from Tannens in the U.S.A. and exclusively from Martin Breese Ltd. in England. Write to , . . 31 Richmond Way, London W14, or 'phone 01-603 6578

^ SkittloL

THE MAGICIAN'S NAME Alex East

This routine is based upon Stephen Tucker's 'So These Must Be' from the 3rd Spell-Binder Special issue. (Page:41.)

This in turn was heavily based on Roy Walton's Oil and Queens from Devil's Playthings page: 15.

You'll need 9 blank faced cards. On three of the cards place a red adhesive circle on two of them place a green adhesive circle and on the remaining four, place the letters of your name. My name is Alex but if yours spells with more than four letters . . . you can place a message such as . . . Stephen Tucker Magical Entertainer or some other such lie.

Just use your imagination and you'll be able to think of something.

Set the cards . . . From the face, Red, Green, Red, Green, Red, four letter cards.

Performance

Hamman count the cards, switching on the 3rd red card and place the final two cards onto the packet squared as one.

This displays 8 cards to be alternated red/ green throughout.

Flip the packet face down and deal the top / a four cards into a face do^vn row on the table. These are assumed to be red/green circle cards but are in fact the letter cards. Flip the top card of the remainder face up and it will be seen to be a red circle card, use it to flip the next card face up and this is a green circle card.

Take the two card fan into your right hand and use them to flip over the rest of the cards in the left hand. A green circle card will show at the face.

Push over this single card beneath the two card fan in the right hand and fin allyj>lace the two cards squared as'one atop the fan from the left hand.

These final cards are both red circle cards.

It appears that you have simply sorted out the red cards from the green and at the moment you have a four card fan in your right hand with what appears to be two red circle cards atop two green circle cards. 1215

In fact, the top card is a double and the actual order of the cards is three red cards followed by two green cards.

Comment that you are going to break the golden rule and actually tell them what you are about to do . . . Tell them that you are about to vanish the two green cards. Square up the fan and hold it in biddle grip in your right hand.

Ask the spectators if they would like the green cards to vanish one at a time or both at once.

If they say both at once . . . Perform a Hamman count switching on the 3rd card and placing the final two cards onto the packet squared as one.

If they say one at a time Reverse the order of the packet holding the final two green cards squared as one and this displays three red cards and only one green. Place the double beneath the red cards and perform the Hamman count as in the first event.

Either of these two avenues leaves you holding apparently four red cards and no green ones.

The obvious location for the missing green circle cards is in the face down row on the table but when you flip these cards face up, there is your name (Or message.)

Ed. . . Instead of the Hamman counts near the end of the routine, I prefer to use the Elmsley or Jordan style counts as these are much easier and less awkward.

I can see why Alex has stayed with the Hamman count throughout Uniformity!

THE TEST TUBE CHILD Henrik Specht

This trick got its odd name due to the fact that I invented it on the very day that the first Test tube baby was born here in Denmark, October 18th.

Effect

8 cards are shown; the four Aces and the four Kings. The Kings are placed on the table in a face down packet and the Aces are held in the hand.

One at a time the Aces change into Kings but not for long they eventually change back into Aces and the Kings are found to still be face down on the table. _^

Set-up

From the face of the packet, the Kings in red/black alternated order, followed by the Aces in any order.

Performance

With the packet held in the left hand dealing position, with the cards face up----Buckle the bottom card and obtain a little finger break above it. Take the packet in biddle grip in the right hand and take over the break with your right thumb. With the left thumb drag the top card onto the left palm. You now appear to drag the next King onto it but in fact you release the card below the thumb break so that it falls onto the first King and ends up sandwiched between the two Kings just counted onto the left hand. During this action, you should obtain a little finger break above the deposited card (Ace).

Now drag across the third King onto the assumed Kings in the left hand. When you appear to drag across the final King, you steal the two cards above the break beneath the right hand packet.

Situation is ... In the left hand you have only three cards and these are an Ace between two Kings. In the right hand you have five cards and they are in the order . . . Ace, Ace, Ace, King, King.

Table the assumed Kings from the left hand in a face down pile to the left of the table. Jordan count the remaining cards and they appear to be four Aces.

Flip the packet face down and show that the top card is an Ace. Replace the Ace and make a gesture over the packet, flip the top two cards face up as one and the Ace appears to have changed into a King. Flip the, double face down and table the top card to your right. This is assumed to be the King but is in fact an Ace.

Drag the top card of the packet into your left hand, then flip the remaining three, assumed two, cards face up and drag the top card onto the face down card already in the left hand. Placet the remaining two cards squared as one onto the left hand packet. This has displayed two face up Aces atop a face down card. Repeat the gesture and lift off the top three cards into your right hand, drag the top face up Ace onto the face down card in your left hand and this reveals that the other Ace has changed into a King. Use this double card to flip the face up Ace face down onto the other face down card and finally flip the double card face down and deal the top card, assumed King but really Ace, onto the other tabled card to your right.

You now have a three card face down packet in your left hand and the spectators assume that the packet contains only two cards.

Double turnover to reveal an Ace, flip the card(s) face down, make the gesture and remove the top card into your right hand.

Flip the two cards held square as one face up to reveal a King and finally flip the single card face up to reveal another King.

Place the single face up card onto the double, flip them face down and drop them onto the two face down cards to your right.

The obvious question now is ... . "Where are the Aces?" and the logical place to look would be the face down packet to your left but before they can pick the cards up from your right, flip them face up and Elmsley count to reveal the four Aces once again.

Flip the packet face down and obtain a little finger break below the top card.

Pick up the packet from the left and drop it onto the cards in your hand as you ask the spectators what cards they think are here.

Regardless of the reply, pick off all the cards above the break, flip them face up and Elmsley count and the elusive Kings will be revealed!

THE DELUXE CHINK BOX Martin Breese and Stephen Tucker

For this routine you'll need the deluxe model of the Chink-box. The mechanism of the box is identical to the one used on the cheaper, inferior models. If you own one at all, it is quite likely that yours is one of the cheaper types. They are generally painted Yellow and Black and the secret compartment can not be closed unless the lid of the box is opened.

On the other hand if you possess the deluxe version, you will have a craftsman made box which is inlaid and varnished to perfection. As soon as your audience see the box, they will recognise it as being a thing of beauty and it will captivate their attention which is after all what you want!! Fig:l depicts the outward appearance of the box, the other illustrations detail the secret wall that can be swivelled open any time you desire. You will see that there is a small square of glass within the box and this prevents a coin inserted into the slot in the lid from falling out of the other slot in the base.

Any size coin can be used that will pass through these slots when the sheet of glass is not present.

Now that you are familiar with the construction of the box,let's take a look at how it can be used to apparently perform magic

The basic effect that the box was constructed for was that a coin inserted in the upper slot was seen and heard to strike the glass within and was thus prevented from passing through and out of the slot below. The magician explained that glass is actually made of sand and by concentration The coin is caused to sink down through the grains of sand and fall free from the slot in the base. The box is immediately handed to the spectator who upon opening it. .. finds the glass sheet still within!!

The impossible has happened or has it?

FIG:1 THE BOX. Within the circle is detailed the revolving side of the box. This allows the glass sheet to slide out and the coin falls through the slots.

side of the box. This allows the glass sheet to slide out and the coin falls through the slots.

FIG:1 THE BOX. Within the circle is detailed the revolving

Let's deal with this effect first Begin by showing the box and placing the glass sheet within. Now as you close the lid, you revolve the movable wall and close the box. Introduce the coin and place it into the upper slot, it will stand in place atop the glass sheet within.

Position the box so that the open side faces you and the box is held at the finger-tips of your hands at eye-level.

Fig:2 depicts this position, note that the thumbs are positioned at the open side. Shake the box a little, causing about 1/4" of the glass to emerge from the open side. Immediately grip the sheet between your thumbs as shown in fig:3. By drawing your thumbs towards your body, the glass sheet is dragged out of the box but not completely out!!

The coin will appear to sink into the box and eventually will fall out of the lower slot. Push the sheet back into the box and close the revolving side. (With the deluxe version of the box this can be done easily whilst the lid is still fastened shut.)

Hand the box to the spectator who opens it only to find the glass sheet still within!!

It is possible to hand the box out for examination, as the method used to revolve the side open is that of pushing inwards on the upper point of the side and yQu will find that most people tend to pull and tug at the bqx in order to unearth its secret. Jusfr keep an eye on them and be ready to take back the box if they are heading in the right direction.

FIG:3 The body of the box is supported by the fingertips and the thumbs drag the glass sheet out. Due to the position of the box in relation to the spectator's eyes...the sheet is not seen. 121? ->>

Well, the above effect is the one normally supplied with the box and should you encounter another magician performing the effect, you can bet your last penny that he'll do an almost Xerox performance of the above.

About 3 or 4 months ago Martin Breese gave me another method that he uses with the box and it goes something like this

For this version you don't need to revolve the side open and indeed it is possible to perform it with an un-gaffed box!!

Hold the box with glass sheet within between your fingers and thumb as shown in Fig:4 Show the coin and insert it into the upper slot but don't let go of it!! Tap it down on the glass sheet and immediately remove it and place it under the box and into the lower slot. Tap upwards on the sheet, now is where the dirty work comes in!!

Apppar to remove the coin in your right hand but in reality your left 2nd of 3rd fingertip has wedged the coin ; in the slot below the box and your empty right hand emerges and mimes the action of still holding the coin at your fingertips. Pretend to carefully place the coin in the upper slot and quickly (BUT SMOOTHLY.) separate your right fingers over the upper slot to reveal the coin gone!! At the exact same instant release the coin from the lower slot and allow it to fall onto the table or the spectator's cupped hands.

The coin has apparently penetrated through the glass sheet'!!

NOTE . . . This approach will take more practice than the other, as you have to convince yourself that you are really placing the coin into the upper slot etc.

About a couple of months ago I was toying with the deluxe model and suddenly realised that when viewing the box both the correct way up and upside down, there was very little difference.

This is not the case with the cheap nasty models as the top is Yellow and the base is Black. The only real differences that I could make out were The lower slot was slightly wider than the upper one and the lid of the box is about 4mm thick whilst the actual base of the box itself is some 10-15mm thick. This latter difference can only be noticed when looking at the box from one of the four sides.

The move to follow should be viewed from above by your spectator Introduce the box, show the glass sheet etc.

Assuming that you have placed the sheet into the box . . . Ask for the loan of a coin. While everyone is searching their pockets, you have ample time to change your suit, lead in the Elephant etc.

Luckily for you all you have to do is ... Turn the box over in your left hand. The position should be that the base is uppermost.

Take the coin and insert it into the upper slot (Really the slot in the base.) Let go of the coin and hold the box exactly as you did in Fig:4 in your left hand. You now appear to lift the lid, just enough to allow the coin to drop into the box and you then close the lid.

What you actually do is ... . Unfasten the catch and hinge up the BASE of the box just enough to allow the coin to drop onto the glass resting on the lid of the box within.

Immediately lower the BASE and fasten the catch shut again.

That's all there is to it!! You'll find that the fingers of both hands should provide enough cover to kill the bad angles. PLUS You are holding the box in such a position that the spectator is looking down onto it. PLUS He doesn't know what you're about to do anyway!!

Your only task now is to turn the box right way up again and this is a simple task to accomplish. By simply placing the box onto the table you flip it over. Make sure that no bright light is shining directly onto the lid of the box. If it is . . . position the box in the shade.

Lift the lid slightly just enough for the spectator to see the coin within. Explain that you will cause the coin to vanish. Keep lifting the lid several times, every timé the spectator tells you that the coin is still there.

Ask him to remove the coin and hand it back to you He lifts the lid and goes to pick up the coin but ZONK!! He can't pick ur the coin. He suddenly realises that it has somehow got under the glass sheet!!

Okay, so let's routine these three effects . . . I find that if I open with Martin's fast penetration it catches their interest. I then perform the under the glass sheet phase which throws them off the scent of an expected penetration.

Finally I perform the standard penetration first described and usually walk off to thunderous applause??

You may like to juggle the 3 effects into your own order of preference. The patter I use goes something like this . ..

"Hey fat face, wanna see a great new piggy-bank that's just come in?? See it has a slot in the top for you to put your money in and a slot at the bottom for you to take your money out. It's great for people who don't really want to save!!

For those who do want to save we supply a small glass sheet that prevents the coin from falling out of the bottom of the box.

As a special bonus you can test that the glass sheet hasn't been stolen by tapping it through the top slot and through the bottom slot.

Did you know that glass is mainly made from sand and it is possible to drop the coin into the top slot, through the sand and out of the bottom.

I don't know how it works either!!

There is one small problem though It's impossible to place a coin into the box through the top slot, because the glass stops it sometimes!!

We solved this problem by simply opening the lid and the coin drops inside, like this

You're probably worried about burglars?? No need, imagine you're a burglar and you've found my box, try stealing the coin See, it hides under the glass'!. Y^s I know that the burglar could easily slip the box into his pocket sonny but we'll solve that problem too eventually!

So let me show you how it works once more Just place the coin into the top slot, wait a few seconds for the coin to slowly sink through the sand particles and voila one coin.

Here step inside and see what you think!!

You could explain that glass is in fact a liquid (TRUE) and if you placed an object on top of a sheet it would eventually sink right through!! (ALSO TRUE.) By using your time machine (WATCH??) you can speed up this process

At the second I type this the DELUXE CHINK BOX (ACCEPT NO SUBSTITUTES!!) is available direct from Martin Breese at a cost of £10.00.

and check on the price and if they are in stock. Tell him you're a Pabular Subscriber (IF YOU ARE) and he'll let you have it post free!!

and check on the price and if they are in stock. Tell him you're a Pabular Subscriber (IF YOU ARE) and he'll let you have it post free!!

The purpose of this short effect is to switch irf a "cold deck". The basic idea was shown to me by Carlhorst Meyer in 1979. I worked on the handling and added the idea of having two decks with different coloured backs. I use it to introduce a stacked deck after having performed some other miracles (?) with another deck. As you will readily recognize the advantage of this method is that you do everything very openly, no lapping, palming, topitting etc.

Effect

A card is selected from a red deck and without looking at its face is replaced face down in the face up deck. The magician introduces a blue backed deck. Upon spreading both decks face up on the, table they are seen to both have one face up card in the centre. Needless to say that these two cards match. The blue deck is replaced in the pocket. During the performance of this short effect the two decks have been deceptively switched.

Requirements

2 red decks 1 red card case 1 blue card case 1 blue backed card (e.g. 6D)

Preparation

Take the complete red deck and place it into the red card case (deck A in card case A). Take the second red deck (deck B) and place the blue backed 6D face down into the face up deck. Insert this deck into the blue card case (case B). _;

Why not give him a call on 01-603-6578

Management and Handling

1) Perform a couple of effects using deck A. Place card case A at position B in Fig. 1.

2) Bring the 6D to a position known to you and force it onto a spectator. I use the riffle force (s. The Riffle Force — A Study On The Management And Handling Of A Classic Sleight).

3) Have the spectator insert his selection (?), without having looked at it, face down into the face up deck. Immediately spread the deck face up at position A in Fig. 1.

4) Introduce blue deck B. Take deck B out of its card case (face up thus not revealing its red back) and place the case at A in Fig. 1. Spread deck B face up at B in Fig. 1.

5) Each face up deck is seen to contain one face down card. Remove these two cards. Pause. Turn both cards face up to reveal that you have correctly predicted the spectator's choice.

6) Now comes the dirty work: take the blue backed 6D and use it to scoop up deck A. Turn this deck face down and place it at A in Fig. 2. Pause.

Fig 1

Comment: The actions in step 6 have gone unnoticed as the climax of a strong effect (for laymen ) has occured in step 5. The placement of the card cases is a subtle point which plays an important part in the psychology of deception of this trick. After this effect your audience will have forgotten that the two card cases were not placed according to the decks they contained. You are therefore now following the path of least resistance by placing each deck into the card case next to it.

7) With the left hand pick up card case B as the right hand takes the face down deck A and places it into this case. The blue card shows on top of the pack thus emphasising visually up to the very last moment tKe apparent condition. Put case B containing now deck A back into your pocket.

8) The red 6D has been dropped onto the face of spread B which is now picked up and squared.

Comment: If deck B was a full deck you will have now a duplicate 6D in it. Leave it there and use it, otherwise get rid of it by palming it off.

Alternatively the 6D of deck B could have been reftioved previously thus leaving you now with a complete deck.

July 1983

Fig 2

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Fig 2

THE INCOMPLETE DECK Stephen Tucker

This effect makes use of the incomplete faro shuffle and a 51 card deck, hence the title.

Place the Queen of Diamonds face down 4th from the face and you're ready to do battle. Execute the incomplete faro shuffle so that the upper section contains 25 cards and the lower contains 26 cards. The reversed Queen of Diamonds is within the lower section. Riffle through the upper section and have the spectator call stop and remember the card he has stopped you at. Strip out the upper cards, place them onto the lower section and cut at the break previously taken in the lower section.

I am assuming that you are familiar with the original control that sends the peeked card to the 26th position from the top.

At the moment the spectators card is 26th from the top and the reversed Queen of Diamonds^ is 8th from the top.

Flip the deck face up and half-pass the lower, really top card.

Spread the cards a little but don't expose the reversed lower card or the reversed Queen.

Hand the deck to the spectator face up and ask him to place it behind his back, then flip it face down, remove the top card, turn it face up and insert it into the deck. He is then to cut the cards several times, still with the cards behind his back. Finally he brings the cards forward again and spreads through them to locate the reversed card.

He will find the Queen of Diamonds to be the only iace up card in the deck. Ask him to cut the cards in order to bring the Queen to the top. Take it from the deck and ask him to deal the cards face up one at a time to the table as he spells T-h-e-Q-u-e-e-n-o-f-D-i-a-m-o-n-d-s.

Two things can happen and these depend on whether he inserted the apparent reversed card between the Queen of Diamonds and the selected card, or if he didn't. If he did . . . the next card on the deck will be his.

If he didn't the card dealt on the letter's' will be his!

Either way, you have revealed the selected card.

Notes

It isn't necessary to use the Incomplete faro shuffle, you could use any control that will position the selection 18 cards from the reversed Queen.

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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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