Right Here Is Your Card Bill Miesel

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over and look for the odd card among the even red cards and odd black cards. Slide the odd card out for the second revelation.

Regurgitations. Note that both spectators took face down cards. However, at the end of the trick, the cards are facing opposite directions. This lends further credence to the face up and face down shuffles. Since they are now facing opposite directions, the shuffles must have been legitimate.

To present John's trick, I ask the spectator who chose the card I will reveal first to grab my right wrist. I explain that as I pass my extended forefinger over the cards, I will (with my highly developed senses) feel an almost imperceptible twitch from the spectator when the finger points to her card.

Now I slowly pass my forefinger over the cards as I hunt for her card. This also covers the mental searching process. When I deduce her selection, I suddenly dip my forefinger down to touch her card. Because of the verbal set-up, this gets a humorous reaction. Whoa! Those of you who are not trained in physical reactions to visual stimuli may have missed that twitch. I almost did. For those of you who missed it, I will repeat it with his card.

I repeat the same presentation with the second spectator, but I don' t get a twitch from him. Oh, your card must be face down. Now I flip the spread over (which turns his card face up) and continue. Let's try it again. This time, his arm is almost removed from its socket as I sense the imperceptible "twitch."

I mentioned this presentation to John. He suggested a whoopie cushion on the floor. When the second spectator's finger is over his selection, you set off the cushion with your foot. After thinking about this, I realized you could take the spectator's finger and pass it over the cards. Then comes the explosion. I'm sorry, I didn't mean to pull your finger. (I hope you recognize idle conversation when you read it.)

You know Bill as the editor of The Precurser, another uh, publication, uh... about people who... uh, curse others before others can curse them . Yeah, that's right. Of course it is not competition for this magazine since it covers a different topic. Bill read Norm Houghton' s Recognition Reflex andmy World's Greatest Magician from #40. It reminded him of something he submitted to Pallbearer's Review back in the seventies. It never appeared there and so he sent it to me for publication here. It is based on the effect Cards A ndA Number from Fulves' s Book Of Numbers which had no ending. Those of you familiar with Norm's location (see Issue #40) may wish to substitute it for Karl's since it is cleaner.

Pretend to look through a shuffled deck for the jokers. Actually, count twenty cards from the back of the deck and in-jog the next card. Close up the spread and turn the deck face down. (Or, down-jog the first card and count the next twenty from the face of the spread. Cut these to the back of the spread, retaining

Figure 1

Deal the cards as shown, spelling one letter for each card dealt.

Figure 1

Deal the cards as shown, spelling one letter for each card dealt.


the down jogged card. Turn the deck face down so that th e downjogged card becomes an injog.)

Cut off the top twenty cards above the jog and place them face down in front of the spectator. The rest of the cards are placed in front of you. While you look away, ask the spectator to cut off a few cards from his packet. He is to count the cards (giving him a secret number) and place them out of sight in his pocket or under the mat. He now counts down in your packet to his secret number and remembers the card in that position. He replaces the cards in the same order on top of your packet. He now places his cards on top of yours. His selection will now be twentieth from the top. To reveal the card, deal five cards onto the table as you spell "R-I-G-H-T" and then repeat, "Right." Deal the next packet of four cards spelling "H-E-R-E" and repeating "Here." Deal three more packets with the words I- S, Y-O-U-R, and C-A-R-D. The piles should be dealt as shown in figure 1. Notice that the balance of the pack (with the selection on top) is dropped (not dealt) on the spectator's side, completing an arrow. You have spelled, "Right here isyourcard." Your patter should direct the spectator to turn over the top card of the remaining cards, his selection.

Regurgitations. If you like material like this, The Precurser occasionally publishes magic tricks also. You can partake by sending Bill $ 16 per year for three issues. You can find him at 2215 Myrtle Street, Erie, PA 16502. If you want him to know how much you appreciate the above trick, make your check payable to The Trapdoor.

Mark has added some nice touches to the original band penetration which is described incorrectly and without credit in Tarbell #7 as The Uncanny Penetrating Rubber Bands. It was later reprinted by Michael Ammar. According to Michael, it was invented by Arthur Setterington and perfected by Herb Zarrow. Because it is available in print in several other sources, I am going to describe this bit of finesse briefly. Mark's handling doubles the performing time and the impact by doubling the penetrations. In the standard method, the magician starts with a band stretched between the thumb and forefinger of each hand. The bands are linked by --773

Figure 1

manually intertwining them. After executing the secret move while demonstrating that the bands are linked, one band penetrates both strands of the other.

Mark's contribution is to insert all his left fingers in the band to open one of the bands as shown in figure 1, yielding two strands. This enables the right hand's band to penetrate both strands, doubling the effect. Start by looping the right hand's band around (behind) both strands of the left hand' s band as shown in figure 2. Figure 3 (with the right hand omitted) shows how the entire right hand band wraps around both s trands of the left band. Figure 4 shows the right hand's grip on its band. Note how the second finger and first finger clip the band. This is a solid grip and is necessary for the upcoming move.

Figure 2

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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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