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Solution

As previously stated, the one-way principle applied to the faces of the cards is used here. In fact upon closer scrutiny of John's M/S, I notice that it isn't really a one way principle!

John is using the fact that some of the values of the cards are made up of straight lines

John includes the 10's in this section.) The other cards contain round numbers 2, 9, 8, 6, 5, 3 and 2's.

There are 28 round value cards and 24 straight value cards.

You can quickly separate out the various values, then cut at the division and perform the face up face down shuffle.

When a face down card is selected and returned face up, it is a simple matter to spot the odd value amongst the others.

As John points out... It is just as easy to spot two or even three such cards in the spread.

Here's another idea of John's and anyone whos seen him perform this at one of the conventions will confirm that, in his hands, it looks like pure magic!

Double-Lift With One Card

This is really more of a top-change than double lift. Hold the deck in the left hand with the cards slightly fanned as shown in Fig:l.

Remove the top card of the deck with your right hand and hold it as depicted in Fig:2. With the left thumb raise the upper right corner of the top card on the deck so that it is slightly away from the rest of the cards. This is not easy to do but a little practise will pay off.

Show the face of the card in your right hand and appear to simply place it back on the deck but in such a way that it rides beneath the top card at the upper right corner. Square the replaced card and immediately move the new top card forward and all will assume that this is the card just placed on the deck.

You can now insert the top card into the centre of the deck and cause it to rise back to the top in the usual 'Ambitious' manner.

This move is npt easy to get the hang of but if you could see John perform it, you'd put in an unlimited amount of practise to perfect it!!

The whole move is performed with grace and smoothness and the illusion is perfect that the card was simply replaced atop the deck.

CARD-WARPER Stephen Tucker

This is an extension of Roy Walton's Card-Warp effect, which in turn was based on Jeff Busby's 'Into The 4th Dimension.' routine.

The Card-Warp instruction is still available from Davenports here in London. This prevents me from explaining a full handling on my variation but I think that I can i safely assume that any card-worker worth his salt will be familiar with the original.

I wrote to Roy detailing my idea, he liked it and kindly gave me permission to publish it within these hallowed pages, so here goes

I'll assume that you are using Poker size cards . . . Fold one in half lengthways and the other in half widthways, as in the original.

In the one that is folded lengthways cut a slit exactly 23mm up from the lower right hand corner, with the card face down as depicted in Fig:l.

This is the main feature which is different from the original, which had a slit in the same card but at the centre.

Fold this card so that the back design is concealed and fold the other card in the same manner. Place the ungimmicked card within the gimmicked one, making the secret move, then unfold the cards so that they are both back designs showing.

Now push the gimmick through the tunnel formed by the ungimmicked card and it will exit face up, in exactly the same manner as the original.

A point to notice here is . . . Don't push the gimmick all the way into the tunnel, stop when the actual back design of the card is within. The white border of the gimmick should still protrude.

You can push the face up section back through the tunnel for its entire length and it turns face down again. This face up /face down sequence can be repeated till the cows come home but once or twice is enough!

Remember that everytime you push the face down section through the tunnel you must allow the white border to protrude!

Now for the finale . . . Turn the package into the position shown in Fig:2 and pull the gimmick card out of the other card for almost all its length. Stop when about 23mm of the gimmick is still within the tunnel.

The majority of the gimmick is seen to be face down and this is the point in the routine that is different from the original. The spectator has seen the card pushed through the tunnel and seen it flip face up and face down.

He now sees you almost completely withdraw the card from the tunnel and he clearly sees that it really is face down.

Hold the package as shown in Fig:3 and completely remove the gimmick card.

What will happen is ... . the small flap at the front of the card will spring open and be concealed by the left fingers. The spectator's view is shown in Fig:4.

It is now a simple task to unfold the upper 3/4 of the card with the left hand only and display the face up card as shown in Fig:5.

Notes

As far as performance is concerned this variation is no better or worse than the original. If fact I've shown it to a few card men and they respond ..." What's the difference between that and the original?"

I merely wanted to bring the concept to your attention and allow you to be the judge. Those familiar with the original version and the subsequent handlings that have appeared throughout the various magazines will no doubt discover that the displacement of the slit allows you to perform many of the displays from the original and the variations in a much more convincing manner.

If this piece of literary trivia turns out to have more errors than you can count, please forgive me. You see, I have just finished a T.V. marathon. No, you're wrong. I mean I have just come to the end of a session of watching T.V., two weeks to be exact, and I am weary. I am talking about the Olympic Games from Los Angeles. Because of the time changes from one country to another, we in the U.K. that is, have to sit up until all the hours of the morning if we wanted to see it happen as it happened, and it so happens I did happen to watch it happening.

The result is I haven't had a good night's sleep for a couple of weelcs , and like I said etc. etc.

I remember a few years ago a Swis magician by the name of Fuggi Fuchs (Hi, Fuggi) who at that time was and probably still is, a member of the International Olympics Committee, or whatever they call the governing body, had the idea of a Magic Olympics. No doubt F.I.S.M. would be mad, but it is still a cute idea. No shows, just competitions. No lectures. Just competitions. No dealers, just competitions.

I wonder what form the competition would take. Dr Elliot used tp advertise himself as the World Champion Card Manipulator. He claimed he could do the pass more often than anyone else in one minute flat. He didn't ever say they were invisible passes. Supposing they did have such a competition and one guy got up and did a hundred and twenty invisible passes in one minute. If no one could see them how could they count them? Imagine a competition for the best invisible pass. Would the the competitors cheat? Like some guy using a one way forcing deck to show that the card really does come to the top? And then another guy gets up and does it three times in a row using a three way deck so that he uses a different card each time.

How about giving participants a six foot length of rope and have them cut and restore as often as possible until'it is obvious that the rope is getting shorter - or c. and r. a rope until there is no rope left?

How about a competition to see who can throw Ricky Jay the furthest?

Or a prize for the first person to steal Mark Raffle's wallet?

Maybe you could give them hurdles to overcome. A thimble routine wearing boxing gloves?

Let's forget the whole idea. It wouldn't work. None of the competitors would pass the dope test.

Mention of Ricky Jay reminds me that he was over here recently to attend an auction at Sothebys among other things. I thing it was theatrical posters and prints and apparently most of the really good items went abroad. A pity. I know that we do have a theatrical museum in this country, but they seem to be more concerned with the legitimate side of the business than the variety or circus angle. Meanwhile the real historical gems are being sneaked out of the country quite openly. (I did say I might make a mistake or too).

I have been attending the Magic Circle most Monday nights recently, which will give you an idea of how busy I've been. Nothing seems to have changed except the faces. I am amazed how many people there are whose names I don't know. They probably don't know me either, but an awful lot of the old faces seem to be missing. I hope they are still with us.

I'm getting bored.

Goodbye Patrick Page

Pabular is published after the second week in every month and is printed in England. Subscriptions may be obtained from the publishers Pabular, P.O.Box 180, London ¿E12 8JJ England, or through many magic aeaiers. Subscriptions rates, including surafce mail worldwide: UK: £14.00 (12 issues), £7.00 (6 issues), £1.20 pence (single issue). Abroad: £15.00 (12 issues), £7.50 (6 issues),£1.25 (single issue), USA: $30.00 (12 issues) $15.00 (6 issues), $2.50 (single issue). Air Mail Extra: USA 85 cents per copy or $10.00 per year. Other rates on request. Editorial or Content Copy should be sent to Stephen Tucker, Editor, P.O.Box 180, London SE12 8JJ. Advertising rates sent on request.

Pabular is published after the second week in every month and is printed in England. Subscriptions may be obtained from the publishers Pabular, P.O.Box 180, London ¿E12 8JJ England, or through many magic aeaiers. Subscriptions rates, including surafce mail worldwide: UK: £14.00 (12 issues), £7.00 (6 issues), £1.20 pence (single issue). Abroad: £15.00 (12 issues), £7.50 (6 issues),£1.25 (single issue), USA: $30.00 (12 issues) $15.00 (6 issues), $2.50 (single issue). Air Mail Extra: USA 85 cents per copy or $10.00 per year. Other rates on request. Editorial or Content Copy should be sent to Stephen Tucker, Editor, P.O.Box 180, London SE12 8JJ. Advertising rates sent on request.

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Fundamentals of Magick

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