## Info

provides the reason for the right hand to approach the pack — to square up the cards.

Immediately the palmed cards have been added and the right hand rests on the pack, the left thumb pushes over these added cards (the four aces) in a slight spread. The right hand now takes these four retaining the spread condition and the left hand places the remainder of the pack on the table.

Request the spectator to push his noted card amongst the ones you are holding. Since you use the word 'amongst' he is conditioned to place it within the packet and not at either end of the spread, so it will end up at position two, three or four from the FACE of the group. You can easily note its position as he pushes it into the packet. If he places it in position two, close up the spread taking a left little finger break under the top two cards of the face down packet. Should he insert it in any other position close up the spread remembering its position.

Remarking that you will demonstrate an infallible way of finding the chosen card proceed as follows.

If it was returned as position two from the face put the top card under the packet and the next one on the table, continuing this procedure until you are left with one card. Note that the first card you place under the packet is really two cards as one. The break obtained when closing the spread makes this move relatively simple to perform.

If at position three from the face put one card under the packet and the next one down onto the table and continue the sequence until you are left holding one card.

toyr Waltoil

If at position four from the face place one card on the table and the next one under the packet and continue the sequence until you are holding one card.

Ask the spectator to name his card and slowly turn the card you are holding face up to show that you have found it.

Point to the four face down cards on the table and say, "You are probably wondering whether the trick would have worked if you had chosen one of these cards instead, well, to be honest it wouldn't. I would just have had to show you my four ace trick." On the final line turn the four cards face up to reveal that they are aces.

the first joint of the left index finger until they are clear of the pack. In a continuous motion the pair is flipped bookwise face up onto the pack. Exclaim, "Your card wasn't the five of hearts? Hmmm ..." As this is said, flip the double card face down, and deal the top card (supposedly the five of hearts) onto the table face down. State, "Perhaps the five is in indicator .. . maybe we will find your selected card fifth down in the pack."

Second deal four cards. The fifth card (actually the original top card, the five of hearts) is now dealt and turned face up. Express astonishment and confusion at seeing the five at this location and turn your attention to the tabled card. It is turned over, revealing that it has changed into the kings of hearts, the chosen card.

&WNG THE PI5UHGE

This routine offers several surprises. It is presented with an air of bewilderment as if the magic were taking you by surprise as much as the audience.

Begin by having a card selected from the pack, and as the spectator is noting the card begin an overhand shuffle and as you reach the halfway point have the selection returned. Continue the shuffle running two cards onto the selection, injog the next card, and then run off the remainder of the cards on top of all. Square up the pack, and as you push the injogged card back into the pack obtain a break below it.

Overhand shuffle to the break. Injog the first card after the break. Run off two more cards and then injog the next card. Shuffle the balance of the pack on top of all. The situation will not be that there are two cards extending from rear (inner end) of the pack, with two cards sandwiched between them which are square with the pack.

Perform the plunger rise, which will cause both cards between the injogged cards to rise squared as one. The visible face of the risen pair will be an indifferent. For the purpose of explanation let's say it is the five of hearts, and that the chosen card hidden behind it is the king of clubs.

Hold the pack face down in the left hand, with the extending card(s) towards the audience. With the right hand swivel the extending card(s) to the right. See illustration. The pair pivots on dorionsagan v described

PIVOT ON LEFT INDEX FtNGtfe

Note: For readers lacking facility with the second deal the following wellknown simple wheeze will overcome the deficiency. In counting off the five cards take them one at a time with the right hand each succeeding card going on top of t'ie previous one counted off. This procedure will result in the five spot being at the bottom of the packet of five cards at the end of the count. At this point — pause — and make some remark relevant to the supposed five spot on the table. It could be a query such as asking if anyone remembers the suit of the tabled five. The object of this minor diversion is to prevent the audience from recalling how the cards were counted off so that when the packet in the right hand is turned over to reveal the fifth? card they will not tumble to the simple ruse with which they have been deceived. The misdirection will be even stronger if you express some doubt when, as the count of five is reached, by saying, "Are you sure it was the five of hearts?" They will instinctively look at the card only to find they are holding the selected card. You then turn, over the packet to reveal the five of hearts at the fifth position.

*phil goldstein

ciffiMMJgN

Let us assume that five cards consisting of three blue-backed cards and two red-backed cards are to be counted face-down as five blue-backed cards. Arrange the cards in the left hand face-down in the following order:

— top card is blue-backed

— second card is blue-backed

— third card is blue-backed

— fourth card is red-backed

— fifth card is red-backed

The right hand takes the cards from the left hand and holds them with the right thumb and forefinger as depicted in figure 1. Note that the cards are held by the very tips of the fingers. Only a light touch is required. The grip ensures the smooth working of the switch later on in the count, but, more importantly allows the audience to see the entire back of the card: there are no extraneous fingers to obscure the back and diffuse the interest point of the audience (that is, the audience normally concentrates on the middle of the back of the card).

The other right fingers play no part in this count and are held loosely spread, though the angle of view depicted by the diagram makes it appear the fingers are closed. This is not the case. On the other hand the fingers are not intentionally spread so as to emphasize the somewhat awkward position of the right hand. The best approach may be to just forget the 2nd, 3rd and 4th fingers of the right hand and just let them fall into whatever position they would normally fall into.

### Step 2

The left hand approaches the right hand in order to pull off the first card. The right hand does not move towards the left hand. The right hand and arm remain immobile and rock steady during the entire count. The action is always one of the left hand approaching the right hand, pulling a card off, and then moving to the left. If the right hand moves, even slightly, a great deal of the illusion is destroyed (this principle applies to all counts, especially the Elmsley and Hamman counts).

The "X" in figure 1 denotes the spot the left thumb should aim for. With practice it is possible to have the left thumb nip just a fraction of the left top outer edge of the card as depicted in figure 2. To pull off the card the left thumb exerts a light downward pressure while at the same time pulling the card slightly to the left until it can be secured by the left thumb above and the middle joint of the left forefinger. Again figure 2 depicts this position.

The card is pulled off at a 45 degree angle as depicted by the arrow in figure 2. The left hand continues along the arc until it reaches the position relative to the right hand as depicted in

0 0

## 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.

Get My Free Ebook