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a row. Thank the man and go to Llie machine, switching II on. When eventually Lhe lady's hand comes down on a card, you will know the name of the cart I. They are in a pre-arranged order, remember? So, when the appropriate card is named on ihe recording, you slop ihe machine by pushing iL forward slightly, or away from you, where you happen to be standing. This is not at all significant to the audience. You do it preparatory to asking lhe lady to turn over the curd her finger is resting upon.

The message may seem a bit contrived, but il has been used in that form for several years, and nobody has ever questioned it.

Now a few final points. The reed switch should be in contact with the bottom of the machine. Close proximity to the magnet is important. Also, there is no need to fear that lhe Influence of the magnet will in any way affect the recording or the machine. In numerous I rials, no problems of that, kind have been encountered. When performing the irick, il is a good idea lo have tite row of five cards laid out along the fronl edge of your baize-covered mat: then, when you push the machine aside, there is a practical reason for the manoeuvre. You want lo clear the decks for the revelation, If you have a machine, do ^ve Lliis a try. If you decide against the trick, The switch will eome onl as easily as it goes In. The fitting of the Switch can be undertaken by any radio repair shop, you can even do it yourself, as it requires a minimum of skill. If you want to use the machine lor ordinary domestic purposes, you will need to have a magnet handy, Nowadays, eassrlte machines arc so cheap that one could be kept specially for lhe Irick- il is good enough lo merit the small expense.

PART TWO

CLOSE-UP MAGIC, AFTER HOURS.

WHERE DID SHE GO?

Of ail the (ricks Al Koran reserved Tor showing to his friends, this one left probably the deepest impression. In one simple trick he was able to drive home an impression of great technical expertise; no magic is feigned in the effect, just great skill. Fortunately for all of us who would emulate Koran's success with this beauty, it requires neither magic nor skill in its performance. The basic trick was devised by the late Louis Lam.

EFFECT:

The performer shows three cards, a black three, a black four and a red Queen. Spectators are asked to try and Find the lady. Some basic throw-down moves are made, but with indifferent success. The audience is not vastly impressed. Finally, the performer says, "Look, 1*11 do it slowly, a different way." He places the three cards together, the Queen clearly going between the other two. The lop card, a spot, is placed pointedly on the table. The next card, the Queen, goes down next, face-down like the other card on the table. The remaining spot card is placed on the pack. A spectator is asked to turn the Queen. Despite the clear, slow and deliberate procedure, the spectator turns over the wrong card. The card alongside it is the Queen, as the spectator finds when he turns it over himself. The description does little justice to a lovely trick.

METHOD:

Run through a pack with I lie cards face-up. Locate a red Queen and put it at the rear (that is. on top of the pack). Now find the three of clubs, but prior to locating it, gel some saliva on your left foreginger tip. This is done as you close the pack and prepare to run through it again, as if you had missed wlial you were looking Cor the first time. The damping of the finger is insignificant to the spectators, Make sure you gel plenty of saliva on the fingertip, Spread the curds and locate the three of elubs, and as you shift it to the back (behind the red Queen), touch the moistened fingertip to the back of the Queen. Give the pack j good squeeze js the three goes into its new position behind Ihe Queen. Now find, and liuow on I he table, the Ihre? of spades and the four of clubs. Finally, slide off the top card from the pack. What you wilt get is two cards stuck together, the red Queen and, on its back, the three of clubs.

Hold the cards as in Figure 14, Say you are going to do Find the Lady, Tilt the wrists down ;md throw First ihe ihrce of spades, to the left, and the four of clubs, to the right. Ask where the Queen is. Do nol be upset if anyone says il is in your hand. They are expected to know this, and you may just 'flash' the face of the Queen, to make sure they know its location. l3U:k up the cards again, positioning the three of spades m front of the Queen with the left hand, before picking the four of elubs up in that hand. Make the throw again, throwing down the four before tile three this time, and letting the audience see that you have the Queen still in your hand. When they say it is in your hand, sigh, and let the right middle finger join the forefinger on the top edge of the Queen (with three on its back), ttulgc ihe eard(s) forward slightly by pressure from the two fingers on top and the thumb beneath, and release the pressure of the thumb, as the thumb is removed, let the middle fingertip go hehind the pair of cards, and press on the point behind the tip of the forefinger. The third finger can be brought alongside the middle finger for added support, The result of all this is that the Queen and its partner spring straight out and are held, as one. between the right first, second and third lingers. This is a convicing way of saying, without opening your mouth, that you are holding only one cord in the right hand. Still held thus, the Queen is taken be tween the upturned let I lingers at one long side and the left thumb at the other; the card, with its concealed mate, is face-upwards. Place the four on the face of the Queen, slid down to leave half of the Queen's face exposed, and the ihree of spades at the rear, slid up lo expose half of its own face. You have made a Queen sandwich, and when this fact is clear to the spectators, you press the cards flush with the right liartd and turn the pile face down in the left hand. Pause, Hold the little pile face-up again, slip down the four and reveal the Queen, still in the centre. Turn the cards down again and hold them in dealing position in the left hand.

The position from the top of the pile is actually this: three of spades, three of clubs, red Queen, and the four of clubs on the bottom. Now deal the top card on to the lable. with lite right fingers, letting ¡t 'Hash' slightly. Now, put the next card (they presume it to be the Queen) down beside the tliree. Pick up the face-down three and show ¡is face, Turn tht remaining card (actually two cards, the four with the Queen behind it), and put flic three of spades openly on to (he four of clubs. Turn the cards face down again and deal ¡he top one (the Queen) on to tile spot oil (he table previously occupied by Lite lliree of s£|des. The patter to accompany this picking up and laying down is this: 11 You've seen this one (showing the three of spades) and this one, of course (turning tip the four in the left hand)". The turning down and dealing off is done in stienec.

One card now appears I o be in Ihe lefl hand, actually there are two. These are openly placed on top of the pack.

Now ask someone to l um over the Queen, They turn overT instead, the three oí clubs, it never fails, and íJ il docs, you haven't [earnet! tile moves correctly. The fact of a new card turning up makes no difference, (he audience never notices it. The Queen is the card I hey watch aJl along, or so they think,

NOTE:

When Lhe four is turned over, (with the Quean at its back) towards the end, i I is best to use the right fingers to accomplish this, turning the sandwiched pair end-for-encL

The business with the saliva at the beginning is not absolutely necessary, of course, but if helps if you are not used lo handling pairs as if they were a single card.

Finally, read Lhe working with the cards in your hands.

Pronio Card to Wallet

PRONTO CARD TO WALLE'l.

We are all susceptible to certain challenging circumstances; some people like to keep on gambling until the baby's milk money is down the drain, while others will keep on trying to balance a glass of beer on their chins. This instinct common to these activities and dozens like them is the desire to conquer. The same impulse drove people, time and again, to request the following effect every time AJ agreed to do a few tricks. They were all sure that if they saw the trick one more time, they would find out how it was done. Of course, nobody ever did not by watching it, anyway.

The effect Is fast and devastating; to encourage you to go on reading, 1 will also assert that it is easy to do. The performer takes a pack of cards from his pocket. A spectator shuffles them and returns thcin to the magician. Running liis thumb down one corner of the squared deck, he asks anybody to tell him when to stop. Somebody does, and they are asked to note the card at which they stopped the riffle. This done, the pack is riffled again, then flung, without ceremony, face-up on the table, spreading itself in an irregular ribbon. "Look for your card," the performer says, aiding the search by separating the cards with his fingertips. The card has gone, there is not a trace of it anywhere. The performer reaches into his pocket and withdraws a wallet, which he drops on the table, clear of the cards. "Open it up," he tells a spectator. When the wallet is opened, only one tiling of any interest is found, it is tlie chosen card.

"Wait .1 minute." the performer says, pocketing his wallet again. "That was a bit loo quick. I'll do it again,"

He riffles the end of the deck again, and this time, the cards are broken at the selected point and the full face of the selection is seen. The pack is re-assembled and the performer riffles the cards as before, dropping them as before, face up. "Look for your card," he says. He goes to his pocket and brings out the wallet while the spectator is still looking.

"No luck?" The magician tells someone to open the wallet and lake out the sealed envelope he will find there. A person does 'ioT and he tears the envelope open as requested, only lo find a slip of paper.

It reads:

THE CARD ISN'T HERE. TRY THE OTHER WALLET.

"Oh." says the performer, feigning surprise. He dips into his pocket and pulls nut another wallet, j billfold type this time. A spectator opens it and there, under the clear fronted card section, is the chosen card, staring al him,

It is all entertainment and it has the peculiar illogic (or perhaps it is n branch of pure logic nobody else has examined} thai gave all of Al Koran's tricks their appeal. First of all, you will have to prepare a special card. This is done by gluing one card to another, at one short edge only; the face card of the two should be offset to one end, overlapping the card beneath it by about one sixteenth of an inch. The rear card ol the pair is your force card, and a duplicate of this should be placed in an ordinary book-fold wallet. Also in the walleL should be a small envelope, inside of which is sealed the message detailed in the effect.

To force Lite card, have it on top of the puck, inside the case. When yon hand the puck out for shuffling, the average layman's overhand shuffle will put the glued pair somewhere near the middle. If not, it is an easy matter to get it there when the pack is returned to you. Because the face card is a shade lower than the one on its back, you have an automatic short-card locator. Feel for its whereabouts when you take buck the pack, and if it is not at the centre (or better, a shade farther down), cut the pack casually in such a way as to accomplish this. Riffle the oilier end of the pack and when you are told to stop, let all the cards beneath the 'short' fly down in a lump; you will be automatically holding 011 to the edge of the force card. Of course, when the pack is spread face-up to look for the card, as described, it will not show, as it is glued to the back of another card.

Now for the second card. This is a fair selection. Be careful that you do nut accidentally go and show the same card a second time. It is not at all inevitable that you will come up with the force card, but some care and attention should be applied to avoiding the double card. So, you have been told to stop and you have arrived fairly, by your edge-riffle, at a card. Lift up the entire I up part of the curd stopped^at, with the card itself on the lace of this packet. Now, you have 10 gel that card out of the pack, secretly.

For those of you who have not thrown the book into a corner at this point, let me say that this is easy. You have a bundle of methods at your disposal. There is the centre steaJ, or side steal as iL is often called. You show the selected card on the face of its block of cards. The block is laid back on the others, and as it goes on, from one side, the lingers of the hand holding the lower part of the puck simply push the face card into the palm of the hand holding the upper part of tile pack. Or you can use Kelly's Bottom Replacement, which is not, contrary to rumour, a transplant operation. If you do not know this move.

look ii up. It is easy. Tiie chosen card will end up on the bottom (face) of the pack, where you are at liberty to palm it off. But if you like neither of these moves, I can recommend one I was fooled with more times than it is discreet to enumerate.

You have shown the face card of the block in your right hand. The lingers of that hand hold the top narrow edge, the thumb holds the bottom edge. As you are displaying the face card, your thumb Jets the lower edge of the face card spring away from the main block. You now slowly replace the top half (or whatever proportion it is) of the pack on the lower part. The face card is dropped (by releasing it from the grip of the fingers) a fraction of a second before the two parts ol the deck come into contact with one another. You let it appear that the pack is closed, but in fact your left middle fingertip holdsa liny break above the upper and lower parts. The selected card is on top of the lower part of the pack. Let the pack lie like that on the palm of the left hand for a moment, the left fingers curled around it. of course, then lift away the top part again. When you do this, you flash the face card of the top part, this confirms, for what doubters you may have in your group ol admirers, that the pack has now been cut at a different point from previously. In a smooth, continuous motion, put the top pari of the pack under the lower and square the deck. You have Cut the pack, pure and simple, and the chosen card is now on top. Riffle the outer end of the cards, for effect, then take the pack from above by the right hand, letting the left thumb take all the little tune it needs to push the top card into your right palm. You won't know how disarming this is until you try it. Or how easy. The pack is tossed on the table, face up (let it flip over in mid-air, don't turn the right hand palm upwards, whatever you do!) and the spectators start to hunt for the selected card.

So far. you know how to force the first card and how to have it found in your wallet. You also know how to steal the sccond selection and hold it in your palm. Before 1 go on, may 1 say that I am aware that the card could have been a force both times, but a later piece of information made rnc realise why it had been devised this way. 1 will detail this at the end of this description.

The two wallets, the book-fold and the billfold, are in the same pocket, preferably an inside left jacket pocket. The book-fold wallet is inside the pocket, but the billfold hangs over the edge, with the side opening of the card portion uppermost. If your billfold does not have an opening in the side of the card part, then make one. The position of this wallet is shown in FIGURE 15.

Now, in performance, the First wallet is produced, the card taken out, and the wallet put back in the pocket. When the second card has been selected, and is reposing in the right palm, the right hand goes to the inside pocket, pushes the chosen card under the cellophane front of the billfold card section, and then withdraws the first wallet again. When the red-herring is read out, the right hand goes to the pocket, pulls the billfold offthe edge of ihe pocket and closes it in <■ flipover movement before withdrawing it and laying iî on tlie tabic. Lei the spec tator who chose the card open the wallet himself.

And thill is il. Ihe trick is aver.

Now for the bit of information 1 received later than the rest of the trick. In performance, you have a felt-tipped pen, black For preference, on Ihe table. When the second card is selected, lell the spectator that, to keep Lrack of the card (his time, you want him tn make a mark on its face. The pen should he of the spirit-based lype (such as Magic Marker), not the water soluble kind. The killer variety will itol take very well or the card and does not dry out for a long time. A smudged mess is definitely not what you want for a finale, so be sure you get the pen for the job. Have the mark made while you hold up the top part of Lh-j pack, with the chosen c.ird facing front. Then proceed as explained. It's a very nice trick, as the response will show.

Bare-Hand Coin Yiui ish

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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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