Prior to commencing the effect, cull the red aces to the top of the pack. Now execute an in-faro shuffle followed with an out-faro which will bring them third and fourth from the top of the face down pack.
Holding the pack in the left hand invite a spectator to lift a corner of the pack and take a look at the card (spectator peek). Take a break with the left little finger and say that you will try and cut to the noted card.
With the right fingers at the outer end and the thumb at the inner end cut the pack at the break and as the top half is being lifted the right thumb releases the bottom card (the selected one) leaving it on top of the bottom half but retain the break between it and the half remaining in the left hand. The right hand turns the top half it holds face up and drops it on top of those in the left hand enquiring if the card cut to is the one selected.
When told 'No', say "I must be one out, is this your card?" as you lift the block of face up cards together with the selected card concealed underneath away to the right, the left thumb draws off the top face up card onto the top of the face down half in the left disclosing another card on top of the right hand half. The spectator again denies that this next card is the chosen one.
Reassemble the pack by placing the face up portion in the right hand on top of the one in the left hand which is face down except for the face up top card.
Next turn over the face up portion sideways — which includes the face down selection — apparently restoring the pack to its original face down condition. However, two cards have been added to the top — the face up selection covered by a face down card.
Continue by saying "Whenever I make a mistake I call on the red aces to get me out of trouble." Overhand shuffle by undercutting the bottom half and shuffling them off at random on top of the original top half. Square up the cards and holding the pack in the left hand perform the Charlier pass. Thanks to the reversed card the pack will break at this point sending it (the chosen one) to the bottom and the red aces back to the third and seventh positions from the top.
Spell R - E - D and deal one card for each letter in a pile onto the table. Likewise spell B - L - A - C - K forming a separate pile. Turn over the top cards of the tabled piles to disclose the red aces. Pick up the aces and drop them face up on top of the face down pack. Cut th^ pack sending them to the centre.
Turn the pack face up, and after riffling for effect, spread the cards from the left hanc into the right and when the three face down cards appear. The left hand then removes all tht face up cards below the three face down cards and drops them onto the table, returning to retake the three face down (still in a slightly spread condition) gripping them between the thumb and fingers at the outer ends as shown in the sketch.
The order of the cards is now — two red aces with the peeked at card at the bottom. This latter is caused to appear between the two aces as they are turned face up as follows, after asking for the selected card to be named.
The right hand takes hold of the top card with the thumb on the back of the card at the point marked 'X' with the fingers underneath and both hands turn at the wrists bringing the cards face up as they are laid on the table. During this action the left thumb which is resting on the back of the middle card moves towards the left whilst the fingers move in the opposite direction, causing the two cards to cross each other. When the spectators see the faces of the cards the selection will be between the red aces.
The method of reversing a peeked card is an innovation of A1 Leech and is described in one of his books.
Any method which suits the performer may be used to bring the aces into the required positions, but the one described is the one I personally use as it appears to preclude the possibility of any prearrangement.
INTIMATE SPIRIT Phil Goldstein
The following is a close-up Spirit Writing, effect, in which the writing appears upon a blank card which has been initialled on both sides by spectators.
You will require a small stack of blank business card stock. On one card, scrawl your spirit message. Take another card, and trim off one corner, as in the illustration. Arrange the stack of cards such that the pre-written card is second from the bottom, writing-side-down. The lowermost card of the stack is the one with the missing comer. The cut corner should be at the outer right. \
displaying them as being all blank. Square up the stack, and place it on the table. Obtain a pencil from your pocket. The pencil is held in your right hand. The left hand, palm down, picks up the tabled stack, raising the stack towards yourself — thus the cut-away corner is visible to you, at the upper left (refer to figure).
Use the pencil to draw a line down the edge of the cut-off corner. When you turn the packet to display this, it will appear to be a line drawn alone the corner of the top card. The line serves to conceal the cut — in fact, the line has been drawn on the second card (which bears the writing).
Hand the pencil to a spectator, and ask him or her to place their initials within the triangle defined by the line. Do not be particularly concerned about this spectator realising that part of the top card is cut away, and that it is the second card being signed — the illusion created here is one which will hold up under reasonably close scrutiny, and remember that the spectator has no reason to suspect anything at this point. You will find that the illusion is more convincing if the cut is angled away from rather than towards the spectator.
When the card has been initialled, you apparently turn it over. In fact, use a Double Turnover, turning the card(s) lengthwise over towards yourself. Again, take the pencil and draw a line along the outer left corner of the top card — this time doing so legitimately. Have the spectator initial that corner, too.
Remove the top card of the packet, and place the rest of the cards away. The single card you hold bears a line across its outer left corner, by which is the spectator's initial. On the underside of the card, on the diagonally opposite corner, is another line and initial — and across the centre of the underside is your spirit message.
The dirty work is over — but here you'll use a further deception to again show both sides of the card. This is the Carlyle's Card move, which Francis Carlyle contributed to the Phoenix years ago. It is a paddle move done with a card, as follows: the card is held deep in the left palm. The left fingers curl over the right long edge of the card. The left thumb digs beneath the left long edge. The hand turns palm down, and simultaneously the thumb pushes the card out, so that it is held with the fingertips above, the thumb below. The same side of the card is still facing up, but it appears as if you have turned the card over.
When the corner-signed card is held in the palm up left hand, the initialled corner is at the outer left corner, as the audience expects. Do the Carlyle move — now the initialled corner is seen at the inner right. The change of location serves to hide the fact that you're showing the same initial twice. To further conceal this fact, display the top side to one part of the audience, and then execute the Carlyle move as you swing your hand over to the other part of the audience.
If you play with this, you will see just how convincing this set of moves is. The audience should be completely certain as to the fairness of your actions — and that the card signed on both sides is blank, other than the lines and initials on one corner of each side.
Have a spectator hold the card is his or her hands. Mutter your incantations. The card when next viewed is seen to have a spirit message on one side, even though the initials are still there. You are clean — and of course may leave the card with a spectator as a souvenir.
For the record, there was a misprint in last month's issue of this illustrious sheet. The penultimate sentence should have read 'for the speciality act, survival in luxury should be the aim rather than stardom'. So now you know what I mean.
There has recently been a great deal of correspondence in Abracadabra 'The World's Only Magical Weekly' regarding the terms amateur, semi-professional and professional. If I'm going to enter into this discussion, and I am, I suppose I should in fairness write to Abracadabra but I did that once many years ago and Goodliffe didn't publish my letter then, so there's no reason to think he should publish one from me now. Apart from that I have enough trouble filling this page without straining myself to help Goodliffe.
According to the 1978 edition of The Concise Oxford Dictionary 'professional' is defined as follows: 'ofbelonging to, connected with, a profession'. That seems simple enough at first glance but like all good dictionaries there is still another definition, which is 4performing for monetary reward, opposite to amateur'.
The second definition seems clear enough, if you get paid you are a professional. But how about the first one? Charlie Charlston's wife makes tea and buns for the local magic club meeting. Does that make her 'of, belonging to, connected with a profession'? And if it does do just that, does that in turn make her a professional. A professional what? Remember, she only makes tea and buns for magicians.
There are enough definitions in the same dictionary for the prefix 'semi' to fill this page so it seems that the term 'semi-professional' can be all things to all men, but we know that this isn't so, don't we? Or do we? On one side you have the guy who earns his living from performing magic who occasionally looks down his nose at what he calls 'semi-pros'. And on the other side we have the shop assistant who performs magic occasionally for money who quite often says 'But lots of pro's have got other forms of income.'
OK. I have a friend who is a full-time professional magician, that is what he does for a living, nothing else. He also has two apartments and a shop. He lives in the house and rents out the two apartments and the shop which naturally
gives him another source of income. Does that make him a semi-pro? The answer is no', because he bought all the property with money he earned from performing magic and invested it to protect himself in his old age. He still gets his main and regular income from performing magic.
Are we getting close to a real definition of the aforementioned words? Is it practical to say that if your main income is from performing magic you are a professional magician and if you supplement your main income by perforating magic occasionally for money you are a semi-pro? I don't know either.
I have just been informed that there is a magician billed to appear at a convention in San Francisco called Patrick Page. No, it isn't me. Let's take an imaginary trip to San Francisco. A kid says to one of the convention committee, 'Hey, I've got a great act, why don't you come and see it?' So the committee man catches the act, thinks it's great and tells the kid he'll book him for the convention and asks him his name and the kid says 'Dai Vernon'. Would the guy book him using that name? Come on you semi-professional b-s who booked the
San Francisco convention — would you?
Will someone tell this other guy he should change his name. If he doesn't, I'll have to change mine.
Pabular is published after the second week in every month and is printed in England. Subscriptions may be obtained from the publishers Pabular, P.O.Box 180, London SE12 8JJ England, or through many magic dealers. Subscription rates, including surface mail worldwide: UK: £7.00 (12 issues), £3.50 (6 issues), BOpence (single issue). Abroad: £8.00 (12 issues), £4.00 (6 issues), 70pence (single issue). USA S15.00 (12 issues), S15.00 (12 issues), S7.50 (6 issues), S1.25 (single issue). AirMail Extra: USA 50 Cents per copy or S6.00 per year: Other ratas on request. Editorial or Content Copy should be sent to Fred Robinson, Editor, 1 Crescent Court, 24 Crescent Road, New Barnet, Herts, England. Advertising rates sent on request.
gordon bttice collection
A freely selected card disappears from between two kings and is subsequently found in the case from which the pack was taken.
If you already perform one of the many versions wherein a selected card is discovered between two face up cards the effect described below is a suitable one to follow with, being stronger in effect and there are no preliminaries as the same selection and two face up cards are used.
To commence, have the closed card case on the table with the half moon cut-out uppermost and nearest you. It should be slightly towards your left just clear of the action — the best position will be evident after rehearsal. The two kings, say clubs and spades should be face up on the table, an inch or so apart.
Pick up the two kings, one in each hand as shown in (1) and lightly squeeze the long sides between the thumbs and second fingers releasing the grip of the second fingers with a gentle snap leaving the cards still held between the thumb and fingers of each hand. This action puts a longitudinal bridge in the cards with the faces concave.
Drop both cards face up onto the table, one atop the other.
Next, have the selection signed and drop it face up on top of the two kings, and pick up all three cards and hold them face DOWN in the left hand.
The right hand now apparently pulls out the selection from the bottom of the packet and puts it face up on top of the other two, not squared, but overlapping to the right. Actually two cards are taken as one at the outer end — a simple matter if the left thumb pulls back the top card an eighth of an inch or so.
Take the double in the right hand holding it between the thumb and index finger about the middle of the long side bring it under the card in the left hand as in (2). Push it further under and 'snap' it upwards. During the above actions secretly transfer the- king below the selection in the right hand to beneath the king in the left hand by pushing it to the left with the right finger tips and pulling it square under the king in the left hand with the left fingers. Note the position of the left forefinger which gives some cover, both during the transfer and to the fact that there is only one card in the left hand at a time when there should have been two.
The position is now as the spectators believe it to be, except that the bottom king in the left hand is face up.
You now appear to push the selection in between the two squared kings but in reality it goes beneath. For those not acquainted with the move the outer end of the selection is pushed in between; the two cards at their inner ends. Do not make it look too easy — a little acting is required — but not too much.
With the three cards squared change to the position shown in (3) and squeeze the long sides between the thumb and fingers which, due to the bridge put in the kings at the beginning of the trick, will cause the cards to form a tunnel into which the right index finger is inserted as shown in (4).
Now for a move which I call the Butterfly Vanish — the cards spread out like the wings of a butterfly.
Press firmly down with the right forefinger at the same time raise the left thumb. This will cause the kings to split open as shown in (5). Again note the position of the left forefinger hiding the extra thickness of the double card.
The left second finger buckles the bottom card of the double (the selection) into the gamblers palm and the right hand tosses the two kings onto the table. Without hesitation the left hands with the selection palmed and its back to the spectators picks up the card case, thumb on one side and the fingers on the others (6) and turns over bringing the case uppermost. The palmed selection is hidden by the case.
The right thumb pulls out the flap and then goes under the palmed card as the first two fingers go into the case. Simulate the action of actually pulling the card from inside the case and hand it to the spectator for confirmation of his signature.
Incidently, this can be used for the last ace in Roy Walton's Cannibal Routine.
Credits to Alex Elmsley the idea of vanishing a card between two others and Ed Mario for the production of a selected card from a card case. ^
The tricks in this issue are from the repertoire of one of Britain's foremost close-up workers, though he would most probably deny it. Gordon Bruce hails from Glasgow which was lucky for him, because in that same city Roy Walton manages Tam Sheperds which is a branch of Davenports, who, as everyone knows, sell magic tricks.
It was to this magic shop when a schoolboy that Gordon was a regular visitor and gradually became aware that the man behind the counter did a special kind of magic which could not be bought. Aware that this boy had a genuine interest in magic Roy guided him through the undergrowth of the technicalities of the cardman's jungle and also made him aware that magic like other pursuits has certain ethical standards. These ethical principles are far more subtle than the usual rules of magical societies, which vary between societies as does their treatment of transgressors within the same society. It is rather more a matter of conduct -like not butting in on another's performance — not giving gratuitous explanations of other magician's tricks or moves - not giving ill-rehearsed imitations of other magicians pet effects especially in areas where the originator is likely to be performing. In the latter case it is a bit off-putting when he.accedes to a request to 'show' a trick, to be told that so-and-so is doing it.
Those guilty of the above and similar behaviour are unlikely to be invited to sessions comprised of magicians who respect the confidences of each other and should they accidently venture into such a group aware of their proclivities will be sufficient to put up the shutters. ^
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