Everywhere And Nowhere

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by Tommy Wonder it is usually all too obvious that the magician is only pretending that the trick has gone wrong. To really convince people requires an understanding of how you would act if the mistake were genuine. Acting alone is not enough. It is necessary that the effect be constructed and the moves chosen so as to give the maximum scope for you to play the part. The routine plus the moves plus the acting should form a harmonious whole.

I will try to elaborate on this in detail when we come to the key points of the routine.

Set up

Reading from the face of the deck 9C-2H-2C-Double face card shqwing 9C-any court card. (The double face card that I use is 9C/2D. The regular 2D is removed from the pack). Obviously not everybody will have the necessary double face card. Once the routine is understood it can be adapted to be done with other cards.


Ask someone to say stop when you hindu-shuffle the cards. This way the 9D is forced. After the card is seen by everyone, the deck is reassembled, bringing the 9D somewhere in the middle of the deck. As you assemble the deck, act a bit startled, look intently at the side of the deck for a second or two (pretend you have lost control of the chosen card), shrug your shoulders as if saying, "Ah well, we might still try it." (This is all of course SILENT acting). Place the deck face down on the table. Make a magical gesture, and spread the deck from left to right. This will reveal the face up 2D (really the double facer). This whole procedure up till now is very clean and would be very strong magic, if you had indeed produced the chosen card; alas you have not. People will not be too amazed that the trick went wrong, since they sensed you make a mistake at the beginning, (this is why the little hesitation was important when you assembled the deck).

So you have produced the wrong card. Let us think now what you would normally do when your best card-revelation misses. Outwardly you would try to stay calm — inwardly: PANIC. Many thoughts would flash through your mind, the very first, which enabled you to put matters right, you would probably use. It is highly likely that this second attempt at finding the right card will not be as flashy and as effective as your best card-revelation. So to ensure that the audience think that you "goofed", do just that.

Find the second card in a less flashy and effective way.

The face-up 2D (double facer) is pushed out of the spread. The left hand gathers the cards at the left side of the 2D; the right hand the cards at the right side. The right hand cards are placed UNDER the left hand cards. (At this point you have on top of the deck: 2C-2H-9C. The picture card is on the bottom). The deck is face-down in the left hand.

Cut off about 1/3 of the deck and while you do so, peek at the card you cut at. Do not hide this peeking, although do not make it too obvious either. You do not have to remember this peeked card. You only peek it to give the audience the impression that you are improvising to find the correct one. The cut-off portion is "weaved into the rest of the deck. Hold the deck vertically, faces to the audience. The upper card of the right portion (the 2C) is pushed further to the left as in Fig 1.

Now lower the left packet and move the right packet upward. The 2C will swivel into view between the right thumb and the left forefinger (Figs 2-3). After everybody has seen the 2C let it fall from between your two hands face-down on the double facer, already on the table. The right packet is placed under the left packet (which leaves the 2H and 9C somewhere in the middle).

The audience have two reasons to think you are really messing things up here. Firstly because the method used is not as magical for laymen as the method used for the first card (magicians may think otherwise because the second method is more novel to them), thereby showing that you were groping for a method — any method — to produce the card. Secondly, this card is also a 2, making the audience believe you think that they have chosen a 2 (what do they know about controlling cards?). "Wow, this magician thinks we chose a 2, he is on the wrong path altogether." The production of the third wrong card will strengthen this belief.

Fan through the deck, faces towards you, cut the 2H to the top. Turn the deck face down in the left hand and show the card you cut at openly, namely the 2H.

. The least effective method to produce a card would be to openly take it out of the deck and show it, this is what you have done. You do not seem to care anymore about producing it, in a fancy way, after two failures. You are just frantically searching for the chosen card. This would be the normal procedure, which a none too competent magician might employ if he were in trouble.

Now in utter disbelief at your own mistakes, ask them if they chose the 2S. Whilst asking this, there is the perfect moment to do the top-change. The 2H is changed for the 9C, which is thrown, face down, on top of the other two cards on the table.

The top-change is not seen because nobody is interested in the cards anymore, they are more interested in you, a helpless soul, making things worse and worse for yourself. Also it is not seen because you are asking the question about the 2S.

When the audience say that they did not choose the 2l3, adopt an attitude of giving up. Pretend all is lost and that the trick is over.

This pretending that the trick is over is important. It sells the idea you have really 'loused' the whole trick up.

Ask them which card they did choose. After they tell you, look through the deck and shrug your shoulders. Pretend that you do not understand how the trick could possibly have gone wrong.

Three two's were produced in successively less interesting ways. You did not find the chosen card. The trick seems to have ended. When doing this trick I have never come across a layman who thought that all of this was just a set-up. They have all been convinced that I really blundered. For a sucker-trick I think that this is essential. If they are not truly convinced, then it becomes just another trick.

Many times after the effect is over people say, "I thought you missed! You fooled me! It was all part of the trick!" They are fooled by the acting more than by the mechanics. They usually do not consider the technical part to be important. I believe that by convincing people you missed — really missed — they will enjoy sucker-tricks (so long as it is not done in a smart-alec, conceited manner).

On the table are the double-facer (2D showing) — a face down 2C — a face down 9C (which is believed to be 2H). The deck is face down in the left hand with 2H on top.

After letting the audience tell you that the 9C was the chosen card, pick up thé 9C from the table (it is thought to be 2H). Rub it against the left sleeve. Peek at the card while saying, "The card was the 9 of . . ." The audience will say, "Clubs." "Ah, yes clubs." Rub the card a little more and show it to be the 9C. (This asking of the suit of the chosen card gives the idea you could change the card to whatever they say, implying real magic).

When it is shown and people see the chosen card, they start to realise that you fooled them into thinking that you had missed. There will be relaxation and a.perfect opportunity for another top change.

The 2H is placed face down on the table (supposedly the 9C). When you make the top change keep a left little finger break beneath the 9C. The left hand turns palm down (with the deck in hand) and picks up the second card, while the right hand places down the 2H.

Turn the left hand palm up again. Make a double lift. The right hand now has the 2C back to back with the 9C. The snap change is performed UNDER the sleeve. (This is an idea of A1 Leech, it makes the snap change more magical). Both cards are dropped onto the deck. The 9C only is taken in the right hand again. With this card the double facer is turned over. Actually the Mexican turnover is performed. So the 9C ends up face down on the table, the double facer ends up in the palm down right hand, 9C side showing. The audience will assume that the face down card is the 2D.

Let someone on your right rub the card on the tablecloth and turn it over. When the spectator turns over the card, all eye's will be on him.

In the meantime the right hand has turned palm up, at the same time adjusting the double facer to keep the 9C side visible.

As the spectator turns over the 9C on the table, make the top change, and turn the left hand palm down immediately. The 2C is placed face down on top of the 2H already on the table. Take the 9C from the spectator and fairly place it face down on top of the two cards on the table.

By now the three two's have all been changed into the 9C. The method of changing them is stronger each time. The first changes while face down, the second card while face up. The third is seemingly changed by the spectator.

All top changes are well covered, either by the psychology of the specific moment or when attention is at another spot.

People are usually anxious to take the 3 cards from the table to see for themselves, if they are really all 9C. This must be avoided. I do it this way. I stretch my hands forward in front of the 3 cards, so that in order to take the cards they would have to go underneath my arms. This will prevent them.

As my hands go forward, the left turns palm up while the right covers the deck and immediately palms the double facer (9C side is against the right palm). The deck is turned face up, immediately, and the front card is colour changed into the 9C. This colour change can look good, because it seems impossible to have stolen a card from the deck, since it is face up for only a moment before the colour change occurs. Now the deck is turned face down, and by the Hindu shuffle it is shown to contain only 9C's.

When doing the Hindu shuffle, I only show a 9C 3 or 4 times. Also I never show the same person a 9C twice in a row. I show the 9C to different people, so the deck is not held in a fixed position. Done this way I have found it to be deceptive.

After you have shown the last 9C, the right packet is placed under the rest of the deck (9C is on the bottom now).

The deck is again turned face up, the right hand takes the double facer. While this card is being taken, the left hand turns palm down again, in order not to flash the face of the deck.

While saying it was all an optical illusion, rub the double facer (9C side showing) over the 3 cards on the table. Then the double facer is slid under the 3 cards and they are turned over. Actually this is the Mexican turnover again, but this time 3 cards are turned over. The double facer is added to the _2H and 2C, and is now 2D side showing, and the regular 9C is held back in the right hand.

While the three tabled cards are turned over, the left hand turns the deck face down, (by turning it with the fingers, so the hand itself stays palm up).

The right hand holds the regular 9 face down and immobile. From now on. The left hand, with the deck, goes to the front and to the right. In this movement it passes the right hand and top changes the card in the process.

The left hand turns the deck face up and places it on the table, and spreads it to the left. The first few cards are not spread to hide the regular 9. This is done while saying, "As you see, there is not a single 9C in the deck."

Then turn over the card in the right hand saying, "Neither is this card the 9."

Then while explaining that there has never been a 9 — that it was all imagination — the deck is scooped up, the top card (the 9) is palmed in the right hand and produced from

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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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