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The following routine was not inspired by any effect in particular, but was deivsed whilst experimenting with the Faro Shuffle. It is a quick 'magician's failure' type trick, vaguely reminiscent of 'The Perfect Stop Trick.' It fits into that category of card effects that Harry Lorayne invariably calls 'foolers.'


1) Run through the necktied pack & quickly cull the four Fours to the top of the pack. The fourth Four should be face up. This set-up is easy to achieve during a performance. For the sake of this description, we will assume that the Fours are in C-H-S-D order from top to bottom, the 4D face up.

2) Turn the pack face down & give it a few shuffles & cuts, retaining the top stock. Patter, 'I want you to select a card.' You will force the 4D using a version of the Henry Christ Force (cf. Kabbala Three (1976), pp. 32-35), as follows: Holding the pack in face down Mechanic's Grip, riffle down the left long edge of the pack with the left thumb, asking the spectator to say 'stop' at any point. (Obviously, you start the riffle b61ow the face up 4D). When you are stopped, turn all the cards above the point of stoppage face up, placing them onto the face down lower portion. However, you must catch a left little finger break between the two halves. Now, spread through all the face up cards, pointing out that the spectator could have stopped you at any one of these card. Keep spreading until you reach the fir§t face down card. This will be the 4D. Do not spread the 4D, as there are three face up Fours beneath it. Split the spread so that all the face up cards are in the right hand, & the squared lower portion is in the left hand.

3) Now, you want td show the spectator the face of his 'freely selected' card; however, if you simply push it across & ask him to take it, the face up Fours will be exposed. So, tilt the left hand backwards, so that the face of the left hand packet points towards the spectator, simultaneously pushing the 4D to the right with the left thumb. Ask the spectator to remember his card. Now, reverse the actions you have just performed, i.e., pull the 4D back flush with the left hand packet as you tilt the hand back downwards. This way, the spectator sees his card yet no reversed cards show.

4) Place the face up right hand portion, loosely squared, onto the cards in the left hand.

Immediately pick up all the cards above your break from above with the right hand, & revolve this entire packet face down onto the lower packet, as if you were closing a book backwards.

The 4D is apparently lost in the centre of the

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pack; in fact, you have brought the set-up back to the top in exactly the same order as it was at the start.

5) Give the pack a quick false cut. Now, shuffle the cards by performing two Out Faro Shuffles. Note that these shuffles need not be perfect, & you do not have to worry about cutting at 26. For the first shuffle, the top four cards of each portion have to mesh perfectly; for the second shuffle, only the top eight cards of each portion must mesh, Do not cascade the cards flush after each shuffle, as this might expose the face up card: simply push the two portions flush.

6) Patter, 'I'm going to cut to your card.' Produce the top card of the pack (4C) in any spectacular way that does not disturb the remainder of the set-up. 'Is this your card?' The spectator will tell you that it isn't. Look momentarily crestfallen. 'Ah, but did you choose a Four?' The spectator will say that he did. Now, count four cards off of the top of the deck one at a time, reversing their order. Turn the fourth card counted face up to show the 4H. Ask, 'Did you choose this Four?' The spectator will say no. Place the face up 4H aside, along with the 4C.

7) Repeat the count, counting off four cards, turning the fourth face up. This time, the 4S shows. The spectator denies that it is his card. Patter, 'Well, at least we now know that you chose the 4D.' Place the 4S aside with the first two Fours.

8) Patter, 'Watch carefully.' Count (slowly) the top three cards onto the table, one at a time. The 4D appears face up in fourth position to end the effect. Place the 4D with the other three fours. You can now perform any trick using a four of a kind.

Ian Land June 23rd 1984

Ed . . . .There now follows another article/effects by Ian. Titled 'Five knuckle shuffles'. I'll let Ian explain exactly what F.K.S. is in his own words.

FIVE KNUCKLE SHUFFLES the final fix ...

Number One — Release Date: 23/July¡84


The following coin effect makes use of a locking Ten pence/Two pence coin. Obviously any similar coin ie. of different currency will suffice.

The initial credit for the actual effect should go to India's Subir Kumar Dhar (Probably spelt wrong!).

He published the original premise in a bygone issue of the Magigram.

End of credits, on with the show

Separate the two parts of your gimmick, we'll assume you're using the 10p/2p coin, and place them onto your right palm so that, if you wished to, you could assemble the coin again giving the impression that you only have the lOp coin.

On the other hand, if you wished to, you could show that you have two coins, a lOp and a 2p.

Either of these required displays will be shown upon opening thé clenched right hand after the required banter.

Practise either opening the fist to show just the lOp or to show both coins present.

Now for the presentation and method combined

Your right fist is clenched and you explain to the victim that you are about to demonstrate an experiment in the power of imagination. Continue that you would like the spectator to IMAGINE that your clenched fist is in fact open and he can see three coins resting on your outstretched hand. These coins are a 50p. lOp and 2p. Point out that the hand is NOT open and neither does it contain the three coins just mentioned but you would like him to IMAGINE that it is so!

Explain that, in his imagination, he is to reach across and remove ANY of the three coins. Caution him that, for the sake of this experiment, the values of the' coins should be ignored. He may IMAGINE that he has removed any one of the three coins named.

The outcome of this experiment depends on which coin he now states that he has removed. Ask him which coin he has removed then proceed down one of the following, easily memorable, avenues A) He states that he has the lOp

Assemble the two parts of the locking coin and point out that you have already told him that the fist does NOT contain three coins open the fist to show that it only contains the coin that he named'

B) He states that he has removed the 50p do NOT assemble the two parts of the coin, simply open your hand and display that you are left with the lOp and 2p coins. Patter goes "If you have removed the 50p. which coins should remain?" He answers and you open your hand to reveal that they do indeed remain! If you would like to end this eventuality on a cheeky note, you can allow him to keep the 50p as a souvenir of the experience.

C) He states that he has the 2p coin Ask him to now remove one of the two coins remaining and depending on his 2nd choice proceed as follows 1) His 2nd choice is the lOp coin. Open your hand to reveal that you have PREDICTED the two coins, the lOp and the 2p. 2) His 2nd choice is the 50p coin

. . . nest the two parts of the locking coin and ask which of the three coins should remain. He will answer that the lOp should still be within the hand. Open the hand to reveal the lOp. Again, you may allow him to keep the imaginary 50p and 2p coins.

Although the avenues that you must take may at first appear complicated to remember. You will find that upon your first attempt common sense will LEAD you down the correct one every time.

I have published another variation on this effect in the defunct Spell-Binder magazine. That method made use of a hollowed out dice and a number of small coins to fit inside. The presentation this time being that the spectator had to imagine that my fist contained a Poker chip, some coins and a dice.

I could either show the dice and the coins or nest the coins within the dice and just show the dice. Hope you can make sense of this brief description.

If you take the trouble to set your mind to the problem I'm certain that you too will be able to work out other variations using other items.

The use of the 10p/2p locking coin is almost ideal as in some of the above eventualities you are virtually clean and even when you are showing the lOp and 2p together They're just coins so why should anyone suspect anything?

Just for the record, as I'm sure you'll never track down the original Magigram version,

Subir used normal coins, thrusting the effect

into the impromptu as follows He used a lOp and a lp coin and simply opened his hand to reveal the lOp only, lp simply lying beneath it. OR showed both coins in the regular way.

LESS IS MORE Barrie Richardson USA

Each Spring I attempt to invent a card trick which will puzzle my two good friends Eric Mason and Fred Robinson. Generally the stunt makes use of an old idea but used in an unexpected way. The following trick did perplex my friends but not for long. After all, they are Master magicians!

For the reader who is interested in general principles in magic there is a good lesson Fewer moves or fewer steps are generally superior to more. Hence the title.

From a shuffled deck obtain a break below the 21st card and riffle force the spectator to stop you at the break. Lift off the seemingly-random amount of cards and discard the rest of the deck. Hand them to the spectator for further shuffling, then ask him to fan the faces of the cards to himself and to think of a card. He then squares up the cards and hands them to you. You now deal the cards into three rows from left to right as if you were dealing out three hands of cards in a card game.

At the finish of this deal you should have three piles of cards before you, each containing 7 cards.

The principle upon which this effect hinges is that yoi are hoping that the spectator, during the 'thinking of a card phase' will have thought of one of the centre 7 cards. This is a fair assumption to make, as he will keep clear of.the ends in the hope that you will be unable to discern which card he is looking at and its position in the spread. Once you have dealt out the 21 cards into the three rows. The original 7 centre cards will be dispersed thus . . . In the row that is to your left there will be two of these cards at positions 4 and 5 from the top.

In the centre row there will be three of the cards and they will be at positions 3, 4 and 5 from the top. Finally in the row to your right there will be two cards and they will be at positions 3 and 4 from the top.

Armed with this information you are ready to blow their brains out

Pick up the row at your left and fan the faces to the spectator asking him if his thought of card is there. If YES—you know that it must be either 4th or 5th down in the packet. Cut the packet bringing the two possible cards to the top, then false shuffle. Add this packet to the top of the centre packet, then to the top of the right packet. False shuffle again and the two possible cards are still on top of the assembled 21 card packet. You now ask the spectator to hold his hand out, palm up and you deal the top face down card onto it. Explain what has taken place and as you do so, allow the top card of the packet to be thumbed off and into your lap. All attention will be on the spectator with the single card at this point so don't worry about the lap.

One of two things will happen ... 1) The card on his hand will be the one he thought of, which is a miracle.

,2) it won't be the thought of card but the though of card is no longer in the packet. If this is the case you act amazed and ask which card was thought of, then slowly deal the rest of the cards from the face down packet so that they fall face up onto his hand one at a time. His card has vanished and that too is a miracle!

If, out of the two possibilities, the first outcome becomes reality you must retrieve the lapped card and offer to repeat the effect. This too is easy as everyone assumes that the effect is now over and will relax their attention.

On this second performance you are hoping that the second outcome will happen as this gives you a different effect and makes for a nice short routine with a very strong and unexpected climax.

NOTE If the thought of card is in the centre packet, you immediately know that it must be either 3rd, 4th or 5th from the top. During the false shuffles etc. get the three cards to the top, deal the top card onto the spectators hand and thumb off the next TWO cards to your lap and proceed as previously described.

The procedure is the same should the thought of card be within the right harid pile. You know that it must be either 3rd or 4th and your proceed as already detailed.

MURDER GAME Gay Ljungberg, Sweden

Mental magic is too often not thrilling enough, but what could be more thrilling than a murder? Here is the story:

You start talking about the latest book you read; a fantastic thriller about a murder on an English country estate. The poor butler had been killed, all the quests had both reason and opportunity to kill him. The local police had no idea who did it, and what was the weapon. That was the reason why they turned to a local psychic, who promised to solve the puzzle for them.

Youthen hand the book to a spectator to keep, as you are going to show how the psychic did. You invite a lady from the audience to play the part of the psychic. You open your bag and bring out six deadly weapons E.G. a knife, a rope, a metal bar, poison, a pistol and a hammer, telling how to use them when you want to kill someone. You have to really work hard on the story-telling, as this is 99% of this effect. Your assistant chooses one of the weapons (method see below) and you continue. You show six or more visiting cards, reading the names out loud and telling a little story about everyone; who they are, what were their reasons to kill the butler etc. Remember you are telling a murder story, not just performing a magic trick! Your assistant now selects a visiting card and you and the audience know 1) Who is the murderer and 2) What was the murder weapon!

You ask the spectator who holds the book, to open it at the last page and read the last sentences of the book. I don't have to tell you that what he reads matches the selections made by your assistant!


You need a detective story, not wellknown, and with a rather general title. You then write the clue to the murder on the last page of the book, after the last sentence that was printed. E.G.: ". . . . and after a long investigation the local police finally concluded that Lord I .M. Broke strangled the poor butler with a rope." Write it clearly so it can be read! You also need the six weapons. I try to put some comedy in here; I have a large fork which I hold over my head saying "... or a knife!" and then I look at the fork: "Sorry, a FORK!". I also have a ;

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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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