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Bang Gun which I refer to as a pistol with a silencer, I then pull the trigger and let the banner fall out. Try to use your imagination to find some unusual weapons to get a giggle or laugh here. You also need six or more visiting cards. I have typed mine on card and cut them out to visiting card size. You could also use Letraset. Try to put some comedy in here by using funny (silly) names E.G. Bishop C. Above, Lord I. M. Broke, Lady B. Good etc. You can make all the visiting cards the same size, if you are a good double lifter. I am not, so I have made the visiting card of the murderer 1mm longer than the rest.


You start by handing the book to a spectator. You then proceed with the weapons. You have one force weapon; E.G. the rope. You place the weapons in two piles and ask your volunteer assistant to choose one of the piles. If she chooses the one with the rope, you dispose of the other one. If she chooses the other one you just put it away, leaving you with three weapons, including the rope. You then ask your assistant to select one of the weapons. If she selects the rope you stop there. If she selects something else, you ask her to appoint someone in the audience to assistant psychic. The spectator now can select one of the two items. If he selects the rope you stop. If he selects the other weapon, you put it away and let your assistant hold the remaining weapon over her head to show everyone that she had selected the rope! This is commonly known as magicians choice. Their are many variations, please use your favourite fashion!

Now to the murderer: You show your assistant all the visiting cards, telling a little story about everyone. Put them down on the table, face down, mix them, but keep track of the force card, E.G. Bishop C. Above. Ask your assistant to put her finger on the back on any of the cards and leave it there. Collect all the cards, face down and make sure that you get the force card on top. You finally pick up her selection (which usually is another card) and put it on top of the force card as you patter along. You then perform a double lift (which is easy if you have a 1mm longer force card!) turn the rest of the packet face up and place the two lifted cards face up on top of the pack. You then ask your assistant to read the name of her selected card (Bishop C. Above) and show her that all the other cards were different. At this point you are clean, so you can leave the cards in her hands as you go along.

You state that your psychic assistant has randomly selected one weapon (The Rope) and

one murderer (Bishop C. Above). You then ask the spectator to open the book on the last page of the last chapter (that is the place I always start to read thrillers!). When he has found the page you state very clearly; "Would you now please be so kind and read out loud THE LAST SENTENCE, THAT WAS WRITTEN IN THIS BOOK!" And I can promise you that he will!

however, it seemed in some way apt for this, a series of single-effect manuscript sheets (to be released at erratic intervals) on the subject of card magic. All the effects will be the work of Ian Land. There is no copyright on this publication, & it may be reproduced by anyone in any form whatsoever; indeed, I hope you will distribute copies of this sheet to anybody you think might be interested. The technical — as opposed to the performative — side of card magic has become a Spectacle (in the Situationist sense): magic has become a commodity consumed by passive individuals who do not realise how, & to what extent, they are being exploited. Books are sold at ludicrously inflated prices; in the main, they contain ludicrously poor material. It's time that magicians stopped consuming & became creators. Some books are 'important', in their own way, & these are the books that should be read. However, the vast majority (FKS perhaps included — I leave that up to you)are immediately forgettable. We could all do without them. Important books break new ground; the rest are written either by amateurs over-sure of their own worth, or are simply produced for profit. By producing FKS in a crude way, I am able to make it almost a free sheet. This is the way magic should be: not a business, but an enthusiasts' circle.

FKS number one is dedicated to a plot that could be dubbed 'diminishing twists': The magician removes the A-4C from a pack. One at a time the cards turn face up (FU), in sequential order. As each card reverses, it is removed from the packet, which thus gets progressively smaller. Additionally, there is a surprise ending. When I came across the idea, I thought it was original with me, but Bob Walker informed me that it has been around for a while. He has some versions from a 1976 ms. called Turnstiles. I will give 2 methods more & 2 more in FKS 2. The descriptions will be very brief.

1) ONE BY ONE 6th August 1983

(1) Quickly run through the pack & cut the AC to the top. Have a card peeked & hold a break beneath it. Perform the following Mario running cut sequence: Cut off about half the cards above the break & dump them on the pad, cut off all the cards above the break & deposit them on the tabled portion, cut off half the cards remaining in the LH & drop this portion onto the tabled cards, & place the remaining cards on top of all. This positions the selection above the AC./(2) Run through the necktied pack, throwing out the A—4C into a FD heap on the pad & culling the selection to the top of the pack. Turn the pack FD & hold it in LH Mechanic's Grip (MG). Pick up the Clubs with the RH & flip them FU onto the pack./(3) Using the pack as a

'table,' arrange the Clubs into 2-4-3-A order from face to back. As you are doing this, gain a left little finger break beneath the selection. Square the Clubs with the top of the pack & lift them off from above in RH KB Grip, stealing the 'broken' card beneath them. Table the pack?/(4) Peel the Clubs 1 at a time into the LH, reversing their order. The last card is a 'double.' Turn the packet FD & cut the top card to the bottom as you say, 'The order doesn't matter such.' Quadruple Turnover as you patter, 'I could turn a card FU this way — but that wouldn't be very magical.' Thumb off the FU card (AC) into the RH & snap its upper left corner with the left thumb as you speak. Flip the AC FD onto the packet./ (5) Elmsley Count (EC) to show 4 FD cards. Perform the Through-the-Fist Move to turn the packet over (hereafter this will be referred to as the TTFM). EC, retaining the last card of the count in your RH (all counts use MG handling). The AC appears FU. Thumb off the AC onto the pad, & replace the RH card on top of the packet. Patter, 'Three cards left.' As you say this, perform the following Victor-type count (using MG technique): pull off the top card into the LH. As you come back to tak!e the second card, the LH card goes under those held in the RH. Immediately block push-off the top 3 cards with the right thumb & take them into the LH, retaining the first card counted in the RH. This is the action of the Jordan/Flexible Count. On the count of 'three' take the RH card on top of all. In future I will call this the Victor Count or VC for short, (cf. Victor's 'E-Y-E.') The cards remain in exactly the same order as they were before the count./(6). Perform the Through-the-Fist Flourish, not turning the packet over (hereafter referred to as the TTFF). Now do a push-off count to show the 2C FU, viz: pull the top card into the LH, double push-off with the right thumb & take this double on top of the LH card, & place the FU 2C on top of all. Thumb off the 2C onto the AC, forming a tabled 2-card spread./ (7) Patter, 'Just the three & 4C left.' As you say this, single buckle/pull-down, & transfer the top 'double' to the bottom, showing two backs. TTFM, & transfer the top single card to the bottom, showing the 3C FU. Single buckle. Lift off the top two cards as one from above with the RH, & place it/them onto the right end of the A-2 spread, leaving you with a single card in the LH (apparent 4C). Take care that the double does not split./(B) Patter, 'The 4C doesn't turn FU — it does a trick of its own. — What was your card?' Rapidly TTFF the card a number of times in quick succession, finally performing the TTFM to make the card emerge FU from your fist, showing as the selection. Toss it onto the pad to end.

2) ONE BY ONE (ANOTHER ONE) 17 th June 1984

I sent Bob Walker the above routine some time ago, & he sent back his Turnstiles versions, some of which use the pack as a 'dump' so that one isn't left with a double card on the table at the end of the trick. I then came up with the following.

(1) (1) Perform steps 1-2 of the original. With the RH, flip the Clubs FU onto the pack & arrange them in 4-2-A-3 order from face to back. Lift them off from above with the RH, stealing the selection beneath them. Table the pack FD to the left./(2) Peel the Clubs one at a time into the LH, reversing their order & gaining a left little finger break above the 2C. The last card is a 'double.' Turn the packet FD, performing the Mechanical Reverse at the break (cf., for instance, Dingle's Complete Works or Ken Krenzel's Card Classics./(3) TTFF & EC. The AC is FU. Injog the last card of the count & extract the AC via the Christ Annemann Alignment Move (AM). The AC is pivoted out & placed FU on top of the packet. Immediately lift off the top 2 cards as 1 from above with the RH (via a facilitating left little finger break below the top card of the packet), & deposit it/them FU on top of the FD break./(4) 3-as-3 Opec Count (cf. Mario's Magazine Vol. 3, or Tribute to Ed Mario) to show 3 FD cards. TTFM & VC to show the 2C FU. Pull back the top card with the RH & extract the 2C via the AM. Deposit it FU onto the pack./ (5) TTFM & reverse count to show the 3C FU. Place the 3C FU onto the pack./(6) End as in step 8 of the original.

The next issue of FKS will contain 2 more versions: one using just a 4-card packet, & a colour-change version* Feel free to write & comment. Contact: IAN LAND/ALCUIN COLLEGE/YORK UNIVERSITY/HESLINGTON I YORK/ENGLAND.

Coming soon: Two years in the making — A Book of Pleasures. Five Cannibal Card routines. Write for details.


From his book Simple Ideas.


A playing card and a big die are displayed. The die is placed on the table. The card is then placed upright in front of the die, supported by it.

You show your hands empty, take a glass (also empty) and put it under the table top with your right hand. With your left hand forefinger you now slowly press down the card. Step by step it comes closer to the table top and finally when it lies flat on the table you hear a loud clinking sound from the glass. The die has penetrated the table top! Pour out the die from the glass and hand both out for examination.


Two playing cards, a sewing needle, a big die (at least 1 inch square) and a glass are what you need for this miracle.


Fix the needle to the long edge of a card with a piece of cellotape. Have the needle project about 3mm. Glue the two cards together with the needle inside. See FIG. 1 for this preparation. When you perform this trick you should use a close-up pad with rubber back.


Show the card and die. Hide the needle with your fingers. Place the die on the table with your right hand and then the card in front of it.

It should look as if you leaned the card against the die. Actually you press the needle into the pad and at the same time you finger palm the die in your right hand. See FIG. 2.

Lean backwards and drop the die in your lap when your hands reach the edge of the table.

Pretend to adjust the card by leaning forward again touching the card with your fingers. This is just misdirection but most important. The audience will and must think the die is behind the card.

Show your hands empty. Take the glass in your right hand. Under the table you adjust your grip round the glass to be able to grasp the die with the same hand. See FIG. 3.

With your left hand forefinger you slowly press down on the card which step by step goes down until it lies flat on the table. See FIG. 4.

At this moment you drop the die into the glass. This creates the illusion of the die penetrating the table top. Show the glass and roll out the die on the table. You have performed a fantastic penetration in slow motion!

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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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