Phase Three

"I know what you are thinking — how can \ a magician possibly follow that. Well, I agree it would be difficult, but I'll try. What I will do is to make all the cards disappear with the exception of the King of Hearts — watch."

Hold the pack in the left hand positioned as for the left thumb count, with the 'working end' away from you. With the left thumb near the outer left corner riffle down the cards until you reach about half way and aim to stop your riffle between two blanks. Maintain a break at this point — a very small one to avoid exposing the blanks. It also helps in this respect if the pack is held parallel to the spectators. Pick up the marked King of Hearts and push it into the break face downwards and square it up with the rest of the pack using the right fingers.

"Right — here they go." Still holding the pack in the left hand — this time in position for the oldest colour change of them all. With the face card of the pack facing the spectators the right hand covers the pack with its fingers and its thumb going to the rear of the pack. The left index finger pushes the rear card inwards into the right thumb crotch and right hand moves back stealing the card in the process. The right thumb assists by pressing the card in the right palm. The right fingers again covers the face card then move away leaving the palmed card on the face of the pack producing the colour change.

Having explained something everyone knows, we stop at the point where the right hand has stolen the rear card and is covering the pack. Instead of moving away empty to reveal the change the right hand palms the whole pack and the left hand turns with its back towards the spectators. It should appear that the left hand retained the cards as it rotated, but the spectators will notice that your right hand Is holding 'something'.

"Look - they've all gone." Turn the left hand palm outwards and wriggle the fingers. You then notice 'something' in your right hand. "No — here they are, but they have all gone." Fan out the cards to show all blank as you say "except one". The marked card will stand out clearly among the blanks. Pull it half way out of the fan. "See — it has the mark on the back." Turn the left hand to show all blanks, "And the face is the King of Hearts." Remove the card and toss it to spectator — "Keep it as a souvenir."

As you close up the fan and put the cards back in the case remark "The trouble with being a magician is — it costs a fortune in cards."


You will require a pack of cards which contains two jokers — something to write on, say a business card — and a pen.

As you casually shuffle the pack request a spectator to think of any card that comes into his mind and commit it to memory.

Run through the pack and remove one card saying "I believe this to be the card which you have in mind." The card you remove is one of the jokers which you slip into the card case without letting its face be seen.

You now ask the spectator to give you his birth sign and the name of the card he has on his mind. Run through the pack as you say "I will find your lucky card which is determined by your birth sign." Take out the other joker with the thought-of card the spectator has just named behind it squared up as one card. It will be necessary to bring them together as you move the cards around apparently searching for his lucky card.

Put the two cards which are squared and held as one on the face of the pack which is then placed face downwards onto the table.

Take your business card and say "I will write the name of your astrological lucky card on this business card. You write 'your lucky card is the joker' and slip the card under the card case.

Pick up the pack and false shuffle retaining the joker and thought-of card in position at the bottom of the pack. Force the joker by asking the spectator to say 'Stop' as you Hindu Shuffle. Show the joker which is at the face of the cards in the right hand. Put this portion below those in the left hand and appear to take the joker and put it into the card case. Actually you perform the Glide and it is the thought-of card which goes into the case to join the other joker placed there previously.

You now ask the spectator the name of his lucky card (you made it obvious that you did not see its face when forcing it). Pick up the card case and invite spectator to read what is written on the business card. When he does so, shake out the two cards onto the table taking care that they fall face down. Slowly push the joker towards him with the index finger asking him to look at it. So far so good and you are ready to produce the climax.

You now ask for the name of the card he is thinking of (he will have forgotten that he named it earlier). Again with the index finger push the remaining card towards him — this time even more slowly than before. Remove your finger and look directly at the spectator. He may pick it up without being asked to do so. If he does not he will eventually look at you and when this happens indicate that he is to do so — without speaking if possible.

This manner of approaching the climax creates suspense and is considerably more effective than turning the card over immediately he names the one he is thinking of — which is of course the one he eventually turns over.

Mark Weston SPECTATOR UNEXPLAINED (After Vernon)

Since Vernon released his "Trick That > Cannot be Explained" from "More Inner Secrets of Card Magic", I have always performed this impromptu miracle both for magicians and laymen. . the item is always well received and a true Vernon miracle. Yet despite this I do not see many people including card men working this card effect. The reason I believe is that the brain needs to react very fast and timing is the all important factor.

The way around this drawback is at the stage where the pack is spread across the table to show all the cards are different (really to spot the predicted card and note its position from the top or bottom of the pack) instead of spreading the pack across the table in one long row as laid down by Vernon. . It is much simpler and within anyone's scope to spread the pack IN TWO ROWS FROM LEFT TO RIGHT.

The advantages of this will be obvious to anyone when trying out the routine. . in performance the pack is cut into two equal halves (approx.) and the first half is spread across the table as you show the spectator that all the cards are different. . Now is the predicted card is in this half. . its position is immediately located much faster as there are only half the number of cards for the magician to count. Also one can see immediately if the required card is not in this half of the pack. . and can then continue almost without a pause to spread out the second half of the pack below the first and nearer to the performer. Because the performer knows the predicted card WILL BE in this second spread he can concentrate completely on counting the cards position from the end of the row. This spreading.and fast counting is the vital part of the trick.

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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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