Efghi J Abcd 2345678901


Always use some progression; it keeps you on the rails and saves a lot of time. When it comes lo the 'fake' code, keep all the relevant letters on the top line. For some reason (and I am not one to doubt the words of an expertj the double lines add immeasurably to the authenticity of the book.

This is arguably the most impressive prediction ever performed; the press certainly seemed to think so. Do not perform it very often, even if you have spent a long time making it up. It is a rare item, to be saved for exceptional occasions.


This trick has an interesting history. A1 Koran performed it in the late 'Fifties, using what was then a rather small reel-to-reel tape recorder. Since the trick works on a remote-eontrol principle, whereby the tape is slopped at a certain point (unknown to the spectators), the performer was hampered by two things; he had to carry a very directional and at best, temperamental radio transmitter; the reels had to be covered while the message was played over, otherwise the stop would be apparent. A third drawback was the recorder - it was unwieldy and its reproduction was, by present-day standards, poor. Then along came the cassette recorder. People gradually came to accept them and, more lo the point, they accepted without thinking, the fact that you did not really see the tape moving through the eassette, unless you looked very carefully at it. At a distance of a few inches, nobody is really aware whether the cassette is moving or not. A1 Koran switched to one of these machines, but he was still weighed down by the transmitter, plus the fact that he had to find room within his recorder for a receiver. Electronics improved, miniaturisation became commonplace, but still he did not like having to depend on that transmitter. Ultimately, he settled on the procedure detailed here. The idea arose from a marketed trick, called 'Where Is It?' In this effeet, a chess piece made its presence (under a cup) known by activating a small reed switch which, in its turn, ignited a tiny lamp. A1 Koran giminicked his recorder with such j switch and he worked the effect thereafter with as much success as before and a much easier mind. Do not be deterred by the seeming complexity of the operation; it is quite simple and puis very unusual trick within your grasp.

Firsi the recorder. The works have to he exposed and a reed switch, the smallest available, inserted in the main power line. Alternatively, (he switch can be introduced into the speaker lead. Either way will work, it depends on your machine, which method will be preferable. A reed switch consists of two wires, one inserted at each end of a small glass tube, which do not make contact until tile tiny metal reeds on their adjacent ends come into contact. FIGURE 12 is a diagrammatic representation of the idea. The reeds come together when a magnet comes close to them, and the power, interrupted by the separation of the two wires, is allowed to flow unimpeded. So, with a reed switch in the works, the preparation of the machine is all but complete. What you now need i-, ,i suitable magnet. It has been found that the best idea is to have a mobile surface upon which to rest the recorder. That way, you don't have to carry a special table around. A piece of hnrdboard. two-feet square, covered with green baize material f the self-adhesive kind is perfect) will act as a good close-up ntai and also, with appropriate gimmickry, it will activate the switch within the tapt' machine. Three button magnets are let-into (he board, as per FIGURE 13. If these are arranged in a triangular pattern, then three distinct points are available on the surface upon which to place the machine. Also, a slight inaccuracy of placement should still result in the switch being activated. It can be checked anyway, in advance, and (lie machine left in the appropriate position. When the time comes to switch on the recording, you do this in the usual way, without moving the machine. When you wish the message to slop, you smile with an air of finality and push the machine forward slightly, half an inch being sufficient, and il will switch oft by itself, fhe audience will presume that the message on the tape has come to an end.

The trick itself is beautiful, and probably sdJl one of Che very best ever devised using a tape recorder. The method and presentation wii] be explained simultaneously.

On a fresh cassette tape, record the following patter, preceding it, if possible with some piano music. If. as some do, you happen to possess any elaborate recording facilities, I lien put on a few seconds of 'spiritual' electronic music. The voice should speak clearly, and at Liie places marked in the text by a dotted lineT the speech should pause, for a slow count of two. Here is the patter:


"(¡ond evening. Tonight J waul you to Join me in an experiment. Tile nature of our experiment is so advanced that, .as yet. tliere is no technical name for it. Before this recording was switched pn, A lady was given a pack of cards lo shuffle, then a gentleman Look the curds and dealt five of them in a row on Lhe table, face down. These cards have been chosen a< random, and as yet, nobody in the room knows what they are, I would now like the lady who shuffled the pack to stand by the row of cards and do as I tel! her. (Pause here for j few seconds, to allow the lady to get over lo the table j Now madam, J wanl yoti to hold your rigid hand above ihe row or cards. Move your hand to the end of thi row and pom! at the first card. L:.iLher cud of line row wilt do it makes no difference. Now, as I count up to five, t waut you lo move that finger along 1 he raw, hack and forth. When I stop counting, bring the finger down on one card, any card you ¡ike. ii does not have to be the card your finger is ovei when I stop counting it can beany card. Ready'1, One, two, three, four, five. (Pause for a second, then on.) You have settled on one card, one c::rd at random, from ainoue five that were chosen aL random, 1 want now to tell you what has happened. Your hand wavered for a momein, but by the lime 1 had counted lo two your finger had decided to come down on Ihe Ten of Clubs But on (he count of Lhree il moved again, heading for a landing oil the Four of

Hearts Indecision crept in again, and it appeared certain you would settle on Ihe Jade of Diamonds Or.

the count of four your finger was coming closer to the card you would finally choose; your decision was locked on Ihe Three of

Spades but at the last moment you tried to outwit destiny, and your finger finally, on the count of five, came down on the King of Hearts,"

The reader is probably well ahead now. The pack is shuffled by a woman: it is handed lo you and the five cards named in lite patter arc 'added on", a very simple thins: to do. in one movement you take the pack, add-on the five cards and turn Willi Ihe pack to a num. asking him Lo deal out five cardjjjn

HDAAKS legacy

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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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