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The method may seem just a little prosaic and obvious to some, and, perhaps, not worth the trouble. Sorry. The trick plays well with laymen and has fooled magicians and magic club members. Well versed card-mongers usually get the general idea (know-alls) but, as a rule, are interested in the finer points. Here we go.

Tell the audience that for the next amazing feat you need to eliminate a few cards — 40 to be exact. To this end, thumb spread the cards from left hand to right, assuming you deal normally from left to right. Invite the spectator to call "stop" three times. Each time stop at the appropriate card, thumbing the selection face down to the table.

Then, with three cards on the table, square the remainder of the deck, and in the action of placing it to one side, palm the top X card: pick up the three tabled cards and add the Xtra card to them. Thus by a quite surreptitious add-on process, you now have 4 cards not 3 as the spectators believe. Any palm will do, but I suggest the following as being misdirectionally(?) perfect. Assume you are going to palm the card in your right hand.

After you have dealt the third selection to the table, square the deck in the right hand, and place it to one side, performing the one hand top card palm in the process. At the same time, pick up the 3 tabled cards with the left hand, commencing left to right.

Now, with three cards in the left hand, and the deck in the right (one card in palm position, remember) drop the three cards back on the table to your right. Table the deck above the three and immediately drop the right hand (plus palmed card) atop the three. Slide the three (?) cards toward you, over the table edge, square, and place in dealing grip in left hand. Easy, direct, and completely deceptive. O.K.

Now tell the spectator that of the three chosen cards he is to further choose one, leaving two for your use. Take the top card of the packet and place it, unseen, to the bottom. Repeat until told to stop by the spectator. At this point, buckle the bottom card and triple lift to reveal a face for the first time — assume 6C. This is the spectator's card. Triple lift again, turn the card(s) face down and deal the 6C (apparently: actually an X card) to the table. Immediately, turn up the new top card of the packet — another X — place it flush with the remaining card(s) of the packet, and remove and reveal the lowermost card — yet another X card. This is a strong point, a cast-iron "prover". Provided your palm-add-on went unnoticed, the face down card must be the 6C, since the spectator can quite clearly see two "non-6C" left in your hand. Now: square the two (?) cards and table them.

Pick up the face down card and insert it into the deck — unseen, naturally. Give the deck to the spectator to shuffle. This isn't really necessary, but it does keep him occupied and stops him, and others, paying too much attention to the cards still on the table. Anyone who has ever put two cards as one or three as two on a table will know just what to do to keep things moving at just the right pace to keep the spectators too busy to notice the true state of affairs.

You now take the deck from the spectator, and hold it about 12 inches above the table in a Biddle-type grip, thumb at one narrow end, fingers at other narrow end — forefinger curled across the back of the top card if comfortable. Pick up the two (?) cards with your other hand

— thumb on face, fingers on back — in preparation for a fanning movement.

Allow the deck to dribble from the fingers of whichever hand you're using to the table. (The "Dribble" concept is too well known to need a description here). As the cards drift to the table, quickly draw the three cards through the flow, spreading them, fanwise, as you do. The end result is that you are left holding two face up cards, with one face down card between them. Seemingly, you have gone fishing and caught another card. Pause here for the scene to register — this really impresses laymen. Then invite the spectator to remove the face down card. It is, of course, his.

CREDITS: COMMENTS: CHATTER

"Sandwich Catch' effects have been around for a while. This particular sample was inspired by an unpublished version by Roger Curzon who has overhauled completely a Harry Lorayne idea

However, the foregoing handling is my own and the addition of the dribble notion — as opposed to an in-the-hands-riffle, common to both the referred-to items — is, I believe a definite plus. Try it.

One final point: When "going through the dribble" watch you don't knock the cards all over the place. A bit messy.

Bob Read

On a couple of occasions recently I have been to Germany. While there I had the pleasure of staying with Han Witt-Wittus and his pretty wife, Andrea. Hans is a professional magician, performing in a variety of roles from the Gardner-Wittus comedy act to solo TV spots.

The Wittus converted farm house is also the home of the largest known collection of magic sets, about 400 or so ranging from German and French sets some 150 years old, to the smallest magic set in the world — and probably the least known — contained in a match box and produced in the 1940's for the clothiers Dunn & Co.

You may know that I'm very interested in street performers and itinerant magicians, a subject that thwarts serious research due to the paucity of written evidence. It was a particular thrill, therefore, to accompany Hans to his performance of street magic in both Brussels and Dusseldorf.

For the sake of future historians (that's a paradox isn't it, like "nil growth" or "a real false eye" — but back to the plot. . .) here's a description of the act.

In the driving snow, Hans, who had in this instance been paid by the town fathers, took up position under a 12 foot blue umbrella, on the periphery of a street market. It was near Christmas and the market was well lit and brightly decorated and was laced with train rides, roundabouts and stalls selling tasty frankfurters and waffles.

Initial curiosity was aroused by Hans chalking a 12 foot circle around himself on the ground as his stage, and reaching into his battered brown Gladstone bag he pulled out, then pulled on a black tailcoat and slung over his shoulder a handwoven Khelin braided bag.

Starting into his introductory remarks, Hans tapped open an opera hat on the hand of an obliging spectator and plunged a couple of rag tipped metal rods into a bottle of parafin in the shoulder bag. A short fire eating routine followed with plenty of by-play and the crowd started to fill out. Hans swung smartly into the Unequal Ropes and was getting some good laughs by the time this finished, and gave way to a Uri Geller parody with a bending tablespoon. The giant card trick in one performance was replaced by the Sponge Balls, Chinese Sticks or

Egg Bag in subsequent shows, "just in case" said the professor "anyone in the audience stayed to see me again".

The crowd was about 50/60 strong by now and thoroughly enjoying the show despite the cold, miserable weather.

A kid was picked from the audience and was made a balloon dog accompanied by lots of lines and bits of business, and finally into a short version of the linking rings finishing on the chain of 6.

The whole act lasted about 12 minutes and was enthusiastically received. Hans collapsed his top hat, folded his tailcoat into the portmanteau, tugged on an overcoat and we repaired to a local hostelrv for a mug of mulled wine.

PRNDL/PRNDL Rick Johnsson

There will be a tendency for some. . .NAY! .. .most people to write this off as a "cute" manoeuvre with little or no practical value. . . they'll be wrong! Others who play with the idea for any length of time will look back on the time spent as a rewarding and PAINFUL experience. They'll be totally correct.

Karl Fulves once asked me how I ran across this idea. I never answered him, as the explanation involved a rubber room, active restraint, Valium and occupational therapy.

Take any 4 playing cards and hold them in your left hand, well squared, in a LOOSE and modified dealing position with the left thumb lying along the left side. Your left forefinger is curled under the packet with its tip lightly touching the bottom card of the packet.

Your remaining fingers are along the right side of the packet which is held a little higher in the fingers than they would be in the normal dealing position. Assuming that this explanation has not lost you completely, here's the remainder of the scam.

But first!! A word of pre-explanation might well be in order to better explain what I'm going to explain. First, IH tell you what's supposed to happen and how it's done and then 111 explain why it doesn't work. . .for most people. . .most of the time.

With the cards held as just described, your right hand approaches the packet from the rear. Your right middle finger presses against the ball of the right thumb and as the hand comes to within an inch or so of the rear end of the packet the middle finger is allowed to slip off the thumb in a forward direction.

This is just my way of trying to describe the normal flicking or thumping action one might use to flick a winged invader off your sandwich at an all-day singing and dinner on the ground type event. Since your finger leaves or breaks contact with the. thumb at a tremendous rate of speed AND the end of the packet is close by and in the path of the finger's travel, your finger will rap the end of the packet with considerable force. If all conditions are right, a card will apparently "jump" out of the far end of the packet for about a third of its length or better. . .this as the result of the jarring thump or flick. Fig.l shows an.end on view of the flicking action. The middle finger is on the point of contacting the cards.

The word "apparently" is the operative one here, for if you are able to achieve this effect, close examination of this protruding card will show it to be a perfectly aligned double.

This whole process probably won't work for you the first few hundred times you attempt it or at best success will be spotty. A few tips and hints will make the process easier. There are a number of reasons why the process you're doing or using isn't working:

Grip Too Tight. . .If you're holding the packet too tightly, the centre two cards can't jump out.

Grip Too Loose.. .If you're grip is too loose, the whole packet will shoot out of your hands as you thump.

Wrong Part Of The Finger.. .The point of impact between the finger and the cards must be at the cuticle of the finger nail.

No "English".. .Using billiard parlance, you must put "draw English" on your thump. Do not follow through with the thump. As soon as the cuticle makes contact with the edge of the cards you must STOP the forward thrust of the thump.

If you find that your finger hurst after a few times of attempting this. . .you're on the right track. . .No pain, no gain!

By the time you've played around with this and gotten the hang of it you'll realise that you can do automatic triples and quads as well. The physics involved cause all of the cards except the top and bottom ones of the packet to "jump" out. For a triple, use a 5-card packet, and so on.

What you do with this is up to you bit I find it a nice utility device to use when I need a flashy, small packet double. Just so's not to leave you with a card projecting from a packet, here's a crisp additional piece of handling.

Assuming you've been doing this with a face up packet, reach forward with your right hand and grasp the projecting card (?) at the upper right (non-index) corner, thumb on top, fingers underneath, remove the card(s) by pulling it forward. As soon as the double clears the packet, use the double to lever the packet over book fashion, face down. Then flip the double over in the same manner onto the top of the packet.

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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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