The Pitapatter Of A Tiny Feat

Have a card chosen from a face down pack and have it replaced in the centre getting a break beneath it as you square up the pack. Side jog the card to the right by pushing it out with the left finger tips and clip it between the third and little fingers of the right hand which is also holding the pack with the thumb at the inner end and the first and second fingers at the outer end. Keeping a firm grip on the selection turn the pack face up with the left hand which will leave the chosen card face down at the bottom of the face up pack.

Now do an 'Under Cover' pass beneath the top card of the face up pack bringing the selection to the centre of pack and hold a break beneath it. You now ask if you may use the face card as a 'key' card. Pretend to wind up the pack in the time honoured manner by riffling the corner of the cards sharply with the right thumb on to the tips of the left thumb and first finger which are performing the winding action on the face card of the pack. See sketch.

You will now have to refer to my Arise Comrades described in Pabular Vol.1 No. 10 for full details, but before the card is caused to rise pretend to start the mechanism by snapping a corner of the pack with the left thumb.

Perform the rise — and say on completion 'I understand how the mechanism works, but I don't know how your card turns.'

If you perform the Paul Harris 'Invisible Card Rise' explained in his Las Vegas Close-Up book, either before or after this effect, you will have quite a good sequence going for you. A little thought will marry the handlings.


Shigeo Takagi's COIN ROUTINE. Published and exclusively distributed by Jeff Busby Enterprises. Four dollars fifty.

This is a "Coins Across" routine in which there are two phases. Firstly, the coins pass singly using eight or ten coins. This is followed by the instant passage of six coins from one hand to the other.

This routine is a welcome addition to the increasing number of versions of this effect especially for performers whose style of performance is slow and deliberate, and who also like their routines to 'flow' smoothly.

This is the third of Takagi's effects to be released and the manuscript is typeset and spiral bound with an insert containing over thirty of Ton Onosaka's excellent illustrations which ensures that no difficulties will arise in understanding what is required to learn the routine. These, together with the precise text written by Jeff Busby, and the fact that the technicalities required are well within the scope of the average coinman, make it a desirable item for those interested in this particular effect.

Fr Cyprian on the HOFZINSER CARD PROBLEM. Published by Karl Fulves price Five dollars.

A 24-page manuscript is the author's latest published solution to an effect in which four aces are face down on the table and the one of the same suit as a selected card, changes to that card.

The object of this particular exercise is to produce the effect without knowing the order of the aces — a claim made by Hofzinser. Cyprian has detailed his solution which requires no fake cards, can be performed blindfolded, and in addition to not knowing the suit order of the aces the performer does not know the identity of the chosen card. The method explained does not require exceptional technical skill and should the plot appeal to readers and a purchase is made it is a fair bet that many will be soon involved in an attempt to devise their own methods for producing the effect. They are reminded that the author has over two hundred other solutions and has promised to publish another using a contemporary technique. The one under review being restricted to using methods which may have been used by Hofzinser.

There are eleven pages of notes by Karl* Fulves which consist mainly of variations on the theme, and provide material for study of the problem.

Jack Avis

During my last meeting with Dai Vernon he performed a version of a Bro Hammon concept. I must admit the ace climax knocked me out.

As this issue of Pabular is being dedicated to Dai to mark the occasion of his birthday I would like to explain my handling of the Hammon concept. However my thanks must go to Jay Malbrough on whose routine I based my handling. For a very good patter presentation refer to Jay's fine publication "The Magic of the Forks Hotel".


Four cards are shown to consist of two Jacks of Diamonds and two Queens of Spades which change to three Jacks and a Queen, four Queens and then into the four Aces.


On top of the deck place the following cards. Ace of Spades, Ace of Diamonds, Jack of Diamonds, Ace of Clubs, Queen of Spades. The Ace of Spades being the top card.


Appear to count off four cards into the right hand. In fact the first card taken is a double card push off followed by three single cards. DO NOT reverse count the four cards. Place the deck to one side.

Holding the face down packet from above in the right hand, with the left first finger pull the bottom card to the left until the left second finger tip contacts the second card from the bottom which is also pulled to the left. The left thumb now pulls the top card of the packet to the left which allows the right hand to remove the last two cards, squared as one card, to the right.

The right hand now turns palm up to expose the face of its card. This card is seen to be the Jack of Diamonds. Replace the Jack on top of the left hand cards and at once deal the top card face down onto the table.

Now turn the left hand palm down to expose the face card which is the Queen of Spades. Turn the left hand palm up, buckle the bottom card as the right fingers reach over, and appear to pull out the bottom card, however the finger tips move into the break formed by the buckled bottom card and removes the second card from the bottom.

Place this card on top of the tabled card.

The right hand fingers now flip face up the top card of the left hand packet and leaves it squared with the other cards.

Turn the left hand palm down to expose the face card which is the Queen of Spades. With the right hand pull out the bottom card, the Jack of Diamonds, turn it face up and place it on top of the Queen.

Turn the left hand palm up, take the packet of cards with the right hand and use them to scoop up the two tabled cards.

Place the complete packet into the left hand.

Take the packet from above with the right hand and turn it face up to expose the face card which is the Jack of Diamonds.

Turn the right hand palm down and with the left thumb peel the TOP card of the packet onto the left palm.

Repeat the action of showing the bottom card and peeling the TOP card on top of the card in the left hand.

Again expose the bottom card but this time peel out the BOTTOM card and at once turn the right hand palm up to expose the Queen of Spades.

Spread the three cards in the left hand and insert the right hand card beneath the top card, square up the packet and cut the top three cards to the bottom.

Retake the packet with the right hand and repeat all the above actions up to the point where the bottom card is shown for the third time, at this point the TOP card is again peeled off into the left hand. Show the Queen for the fourth time and then drop it on top of the left hand cards.

Flip the complete packet face up, an ACE shows, at once Elmsley Count the packet to reveal four aces.

It must have been about 1956 that I saw Dai Vernon for the first time. He has had a profound effect on my outlook. The spell that he wove has never been equalled — the magic never surpassed.

Some twenty years later I had the unnerving privilege to work for him at the Pabular Ramsay Reunion. As a reminder of the enjoyable time there and his kindness to all the artists I am honoured to contribute one of the tricks we saw that night to this Tribute to Vernon.

Bob Read

Right hand tugs the handkerchief a couple of times and it apparently penetrates the handle.

The whole sequence is over in less than 10 seconds.


A handkerchief is threaded through the handle of a half pint mug. The two ends are gathered and the handkerchief is pulled and seems to penetrate the solid glass handle.

Hold the glass by left hand, first finger and thumb on outer surface, remaining three fingers inside glass. Handle projects upwards between first finger and thumb (1).

Handkerchief is passed from the front, beneath first finger, through handle towards body and drapes over thumb and glass (2).

Right hand curls around glass, palm parallel to bottom of glass, fingers pointing to rim of glass on the audience side. Right fingers move over outer surface under hand, until right first finger strikes left first finger through handkerchief, right third finger then takes over, passing below right first finger, below left first finger and up between the left first finger and handle (3). The right third finger is still below the handkerchief, and naturally when it is raised about one inch it drags the hank back from under the handle. The left first finger presses the hank against the glass.

The right hand is raised, and brings up the forward end of the hank, the middle is pinned to the glass by the left first finger, the action of right third finger beneath the handkerchief brings the nearest corner of the handkerchief back out from beneath the handle. The right thumb takes over from the third finger and the hand continues upward (4).

From the front it looks as if handkerchief is still threaded through the handle. In reality the left first finger merely pins the middle of the handkerchief to the glass. This finger then pushes the middle of the handkerchief through the handle where it is gripped at the rear by the left thumb (5).


Gordon Bruce

A Happy Birthday Professor — Here is what may be regarded as a short version your well known 'Travellers' effect. Definitely not offered as an improvement in any way whatever — but it can be performed seated — hence the title.


Two signed cards travel magically from the pack, one into the left inside pocket artf the other into the right inside pocket.


Remove the four aces from the pack and arrange them — AD, AC, AH, AS. Put a downward crimp in the upper left hand corner of the top card of the face down pack. Place the four aces face down on top of the pack, the AD being uppermost, and cut the pack. Have a marking pen nearby.


(1) Hold the pack face up in the left hand making sure that the crimp is at the outer end. Spread the pack from left hand to right as you look for the aces. Upjog both red aces for one third of their length. Square the pack leaving the aces outjogged.

(2) Turn the pack face down sideways and hold it in the left hand. The right hand now fans the two outjogged aces slightly (1) and flash their faces to the spectators. Give the pen to a spectator and line up the red aces using the right hand.

(3) Immediately the red aces are a^gned as one, the right hand moves forward with the two cards until they are extending from the outer end of the pack for two thirds of their length. This action secretly draws out the AC between them for one third its length — the reverse of the familiar plunger move.

(4) Next, keeping the two red aces squared as one card pivot them around the left second finger as shown in (2) with the right hand and turn them face up onto the top of the pack (3). The spectators, seeing the face up AH will naturally assume that the face down AC protruding from the outer end of the pack to be the AD. A spectator is now asked to sign his name on the face of the AH.

(5) Double lift the AH and turn the double face down. Take off the top card (AD) and insert it in the front end of the pack BELOW the outjogged card — actually it goes below the AS and above the crimped card —

a simple matter as the crimp provides a space which can be seen if the pack is bevelled slightly to the left, though with practise it can be done without looking

(6) The card you have just inserted is not pushed right into the pack, but squared up with the other outjogged card. You now ask another spectator to take the pen.

(7) Repeat the steps 3, 4, 5 and 6. This time the AD is signed and the back of the AS as it extends from the outer end of the pack is accepted as the AH in the same way as the back of thé AC masquaraded as the AD during the signing of the AH. This time when you apparently replace the signed card it really does go immediately below the outjogged card.

(8) At this point you have had the two red aces signed and the spectators believe that they are two cards protruding from the front end of the pack. Actually, because of the slow motion switch, these cards are the two black aces, the two signed red ones being face down on top of the pack.

(9) You now perform a flourish, which I believe should be credited to the late Dr Daley. The pack is held in the left hand as shown in (4) with the two protruding cards extending foi half their length, and the forefinger at the end of the pack with its tip in contact with the face of the bottom card of the two. The right forefinger goes to the outer left corner marked 'X' and swivels the two cards clockwise until they are reversed end for end. This action will be found easier if the left forefinger pushes upwards slightly, and to ensure that the left inner corner clears the thumb crotch as the cards move round, have the pack well forward in the left hand before beginning the clockwise movement.

(10) The right hand removes the two cards clear from the pack and tosses them face up onto the table, spreading them as you throw so that the spectators can clearly see both cards are black aces.

(11) The right hand returns to the pack and palms the top card using either the method described by Vernon in his book "Select Secrets" or the right hand top palm from The Card Magic of Le Paul, page 54. Produce this card from the left inside coat pocket and throw it onto the table for verification of the signature.

(12) The right hand now takes the pack and slaps it face up onto the table leaving the top card (the other red ace) palmed in the left hand using a variation of the sleight described in "Expert Card Technique" on page 57. The left hand reaches into the right inside coat pocket and produces the second red ace which is also tossed onto the table for the signature to be verified.

(13) The variation of the palm referred to above is performed as follows.

Hold the pack in the left hand as shown in (5). Note particularly the position of the thumb which remains constant until the conclusion of the sleight.

When the right hand approaches to take the pack" its thumb hits the top card about half an inch from the inner corner at the point marked 'X' in (5), which causes the card to pivot on the base of the left thumb and swing clockwise until its right outer corner touches the tip of the left little finger. See (6). The right fingers now curl round the outer end of the pack and the right thumb moves onto the pack.

The right hand now moves the pack forward clear of the left hand leaving the original top card, which, is now so aligned with the left hand that it is only necessary to curl the fingers in slightly to complete the palm.

After reading this month's column you will probably call me the 'name dropper extraordinary', because names are what this month has been all about. So, where shall we start? In the last weeks there have been so many American visitors to these shores that it is just impossible to record them all, so let's just mention some of them. The reason they came, is of course they were en route to the F.I.S.M. Brussels Convention.

First one in was the fabulous Goshman; with the christian name (I know he'll forgive me for this) of Albert. I met Albert coming off the plane and wasn't in the least bit surprised to see as it landed that its wheels were actually made of sponge balls. Albert was over for some lectures and the convention and spent a few days in London. Hugh Riley and Mike Caldwell arrived on another plane on another day and I couldn't help but notice that on the plane in which Mike landed the wheels were buckled. Mike stayed a week in London and he could afford it, he didn't pay any rent. He stayed at Billy McComb's place. As Billy was in the United States at the time it's probable that he didn't even know that Mike had taken over his apartment.

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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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