Method I

1. With the deck face up, run through the cards, upjogging each Queen for half its length and tossing the Kings onto the table face up. Square up the deck and withdraw the Queens. Arrange them in bridge order — QC, QD, QH, QS ~ from face to back and hold them fanned, face up, in the right hand. The deck is held face up in the left.

2. With the left thumb, riffle down about half way and hold an opening at the outer left corner of the deck at that point. Insert the Queen of Spades into the opening for about half its length. Riffle down a little further and insert the QH. Repeat for the QD and QC. Push the Queens into the deck and control them to the bottom, using either a multiple shift or a diagonal palm shift.

3. Turn the deck face down, thus bringing the Queens to the top. Take the top card in your right hand and, using it as a pointer, indicate the four Kings on the table and ask the spectator to name one. Be careful not to flash the face of the pointer card.

4. At this point the procedure varies slightly according to the spectator's choice. If he names the King of Clubs, replace the pointer card on top of the deck and give the cards a casual false cut in the hands. Then place the KC face up on top of the deck. If any other King is named, use the pointer card to scoop up the chosen King and deposit it face up on top of the deck, then drop the pointer card — face down, of course — on the table, as if you had no further use for it.

5. Rub the face up King against the top of the deck, then remove it and stick it, still face up, into the middle of the deck, letting it protrude from the outer end for about half its length.

6. If the chosen King was the KC you have only to turn the top card face up and show that the King has apparently attracted the QC to the top. Then flip it face down again and leave it on top of the deck. If the chosen King was the KD the procedure is the same since you will have left the pointer card — the QC — on the table and the QD will now be on top of the deck. If it was the KH, do a double lift and turnover; if the KS, a triple lift and turnover. In all cases, the card(s) is turned face down again after being displayed and left on top of the deck.

7. Note: The multiple lift technique that I find very suitable in this routine is the one I described in the July 1968 issue of The Gen (p.49) under the title, The Flip Double Lift and Turnover. Briefly, the left thumb riffles off one card. The right hand comes over the deck so the right forefinger can engage the card at its outer left corner. As the right hand covers the front end of the deck, however, the left thumb quickly riffles off a second — or a second and a third — card and the right forefinger engages them both (or all three, as the case may be). The forefinger is then drawn across the front edge of the deck until it reaches the outer right comer. This raises the whole front end of the top card(s) and heightens the impression of there being only one. The card(s) is then grasped at the outer right corner between the right thumb on top and first two fingers underneath and turned face up on top of the deck. I prefer to have a hit technique to tum it back face down again. If using this handling of the multiple lift with the Queens, then of course the Kings should be picked up in the same way after being rubbed on top of the deck. The left thumb then riffles down in the deck and holds an opening for the King in question to be inserted.

8. At all events, one Queen has been attracted to the top and displayed, then turned face down again. The corresponding King is stuck face up into the outer end of the deck. If this was the King of Spades, you now pick up the pointer card from the table, use it to indicate the remaining Kings and ask the spectator to name a second one. Before he can do so, however, return the pointer card to the top of the deck.

9. If the first King chosen was any of the other three, however, proceed as follows: Pick up the pointer card, use it as an indicator and have a second King named. If this choice is the KC, return the pointer to the top of the deck. If it is any of the others, leave the pointer card on the table. The chosen King is picked or scooped up and placed face up on top of the deck. The same rubbing procedure is performed, then the King is placed into the middle of the deck along with the first one (at a different spot, though). The top card is turned over or a multiple lift performed according to the choice to display the corresponding Queen.

10. The same procedure is repeated for each of the remaining Kings. The principle to bear in mind is simply this: Once the KS has been chosen and the QS has been shown on top (via a triple lift) the pointer card should be returned to the top of the deck. The only reason for indulging in the stratagem of removing it is to obviate the need for a quadruple lift to display the QS, since that much edge thickness is difficult to conceal. Conversely, whenever the KC is chosen, the pointer card must be returned to the top of the deck if it is not there already. The ideal situation is for the KS to be chosen first, and to enhance the chances of that happening I place it third from the spectator's left in the line of Kings on the table. Note also that if you do not intend to use the added effect about to be described, the Kings can be returned to the table or, even better, inserted face down into the deck and lost, instead of being inserted face up and left protruding.

11. Assuming you do wish to perform the added effect, you now have the four Kings outjogged face up at different points in the deck. These must be pushed into the deck and controlled to the top with one face down card above them. Without going into great detail, I

control them first to the bottom, keeping a break above them, release one card onto them, then cut the packet to the top.

12. You now perform the colour change which is described by Erdnase as the first method under his section of two-handed Transformations (p.151 of most editions). Vernon also describes this change on p.49 of Inner Secrets of Card Magic. You can also find it described in detail, with a minor variation that makes for smoother handling, in the trick, "It's Up His Sleeve", in my book, Divers Deceits. It has the effect of transposing the top and second cards, thus causing a face up King to suddenly appear on top of the deck. The contrast between the face up King and the face down deck is especially striking. Toss the King onto the table and rapidly repeat the move three times to bring the other Kings to the top. I do this as a quick cod explanation of how the first part of the trick was done, showing that the face up cards can be brought to the top of the deck without even using any other cards to attract them.

Now you see her, now you don't1 Old crone or Edwardian maiden?

cFtmicus

Book Review

When someone with a lifetime of performing experience decides to publish his effects and bits of business the results are almost certain to be of value. This proved to be the case when Eddie Fechter allowed Jerry Mentzer to publish his material entitled 'MAGICIAN NITELY' the book contains effects that Fechter has been using to entertain his guests in the bar of his hotel for many years and are therefore of particular value to close-up performers.

Card tricks predominate and include Card on the Ceiling, Brainwave, a couple of Ace effects, Slip cut, Jog control, Throw change, Bluff pass and a particularly valuable chapter on Peeks and one outstanding item in which a spectator finds he is sitting on a thought-of card. Non-card effects include torn and restored cigarette and a practical Coins Across which can be performed either standing or seated.

There are some fifteen effects plus many sleights in the 148 pages and it is adequately illustrated with photographs. For the close-up performer requiring practical, entertaining material this book is recommended.

As this is now our sixth issue it's not surprising that we have had quite a bit of correspondence about the tricks so far published. As this is often comprised of ideas or different slants we thought it made sense to run some of them together in this column.

Bob Ostin has a different version of "Ad Infinitum' by David Berglas and writes:

I've worked out a method which I believe is faster, easier, and also enables the thing to be extended to five, six or more figures with comparative ease.

Here it is — instead of adding noughts, start with the bottom row and add them across from left to right putting down the final digit as the unit figure in the prediction total and carrying the balance up to the second row from the bottom which is added likewise, the last digit thus being the "tens" figure in the prediction total. And so on up to the top of the sum. Here is an example using four figures:-

Row (3) 4291 Prediction

Add the 5, 2, 6 and 8 which equal 21. Put down the 1 and carry the 2. So, you now add row (2) which is 2 (that was carried) plus 3, 7, 6 and 8, and now equals 26. Put down the 6 and again carry 2 — Into row (3) where 2 is added to 1, 9, 2 and 4, and this time equalling 18. The 8 is put down and the 1 is carried to the top row which is added and equals 28 which is put down as the first two figures in the prediction.

One final point, I think it advisable to delete the figures completed from the original 'sum' as they are re-arranged by the spectator making it impossible for them to check.

A couple of days after receiving the above a letter describing a similar way of arriving at the "Prediction" was received from Bob Drie-beek who pointed out that it was only necessary to give the sum a quarter turn in an anti-clockwise direction and a simple addition was all that was necessary.

Peter Kane's Slow Motion Ring Release (No.l) also came in for the Driebeek treatment. In fact he has made a new trick of it. In addition to the string and ring you will require a long pencil or small wand to be in the outside left breast pocket. Proceed as in the Kane effect to the point when the ring secretly drops into the right hand. Instead of dropping the ring back into the left fist request a spectator to hold both ends of the string, the right hand with ring hidden takes the wand or pencil from the pocket secretly sliding the ring over the end. During this action a spectator on the right is requested to hold the ends of the wand. On opening the left hand the ring is seen to have vanished and the right drags over the ring causing it to spin on the wand showing the transposition.

Something we didn't know about issue 2 is that it has a built-in trick. Leslie May spotted it and came up with the following:

I find that the issue (No.2) has a 'built-in trick' as follows:

Tear a sheet of paper into small pieces and number each with a page No. from Pabular 2. i.e. 13.14.15.16.17.18.19. 20. 21. 22. 23. 24. (twelve in all) turn them face down, mix, and lay out in a row in pairs, ENSURING THAT Nos. 16 and 19 are paired. Eliminate all other pairs by conjuror's choice method. Tell assisting spectator to take remaining two (16 and 19) and to pick up either. He is then to turn to page in question — glance over it quickly and concentrate on anything that stood out or struck him in any way. Do a bit of thought-reading, get the impression of 'cold', small quantities of something cold etc., etc., and finally announce you get impression that he noted (either consciously or subconsciously) something to do with small pieces of ICE.

Providing the force of the correct pair has been carried out you can't go wrong as on page 16 the most noticeable item is ICEBREAKER, and on page 19 the penultimate paragraph deals with SLIVERS OF ICE!

George Blake has sent us another solution for one of the Ken Brooke coin puzzles in the Christmas issue:-

Being a puzzle fiend, I naturally tagged on to Ken Brooke's coin puzzles and regarding the 4-1 p and 4-2p puzzle and without looking at Page 45 (honest) I solved it. But I was wrong, AND YET 1 WAS RIGHT! You see, instead of pushing the 4-1 p's between the 2's, I pulled the four 2's out to form a larger square, so, there are two ways to solve the puzzle. If you like a follow-up to this puzzle here it is:-

Replace the coins as they were originally and then invite the victim to move four coins and still leave a square the value of which shows 6p on all sides. Simply pick up each lp and place it on top of a 2p, that's all.

About "Vampire" in the same issue:-

1 liked Bob Ostin's "Vampire", but unfortunately all my Bambi staples are coppered, and a felt-tip pen mark wouldn't show. So, I took a sharp pointed knife and scraped away some of the copper coating and although it isn't as plain to be seen as an ink mark (which could be an advantage) it can be seen by gently tipping the papers to catch the light.

Blackpool Convention

We will be there somewhere — probably with a table tucked away amongst the dealers. Please meet us if you don't know us already — and if you do, come anyway. (We may have the early back numbers reprinted by then if you are one of those without them).

Anyone reading Pabular's last issue could be forgiven for thinking we had gone into the crystal-ball business. Publishing on about January 20th we somehow managed to describe the Fred Kaps lecture 9 days before it took place! Of course it was a mis-print — the lecture date was December 29th.

Wanted: The Ramsay Legend, Johnny Ramsay's routine with the Cups and Balls, Cylinder and Coins, Triple Restoration. State price and condition. Also required: any books or data relating to cheating at gambling, card sharping etc.

Fred Robinson, 1 Crescent Court, 24 Crescent Road, New Barnet, Herts.

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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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