There Will Be Four Lectures One Each In

THE MONTHS OF OCTOBER, NOVEMBER, FEBRUARY

and MARCH.

They will be held in the West End of London, probably in Soho, and the charge will be 10/- per lecture. Admission will be primarily by receipt sent for cash received in advance. The number will be limited to 100. Cash can be paid at the door, providing accommodation is available.

DATES, PLACE and TIME wilS be published in "Abra", or may be had from us immediately on publication of this Magazine.

SUBSCRIPTION for 4 LECTURES-35/-

DON'T DELAY — WRITE TO-DAY IF YOU WISH TO ATTEND OCTOBER LECTURE.

(Continued from Page 193)

were canted slightly upward. You might be tempted, if you think of trying this ruse, to fix the peg in a permanent position, but be persuaded by me, and don't. It is better to leave it unfixed, so that you may try it out in varying positions and angles.

With the clothes peg in position, take up your pack of cards and begin to spread them out in a fan as you approach your imaginary spectator. AT THIS STAGE YOU SHOULD HAVE NO AIM AT FORCING A CARD. Just a few attempts at fanning the cards as you approach and finally, reaching the peg, you leave one card there, pushed between the jaws of the peg. Cut your pack, place the lower half under the 'chosen' card, the upper half above it, and withdraw the card back into the pack.

Incidentally, you will realise that this method is also useful for the practice of having a card returned to the pack, making a break at the chosen card etc., and generally assisting in the score and one things a card man does when a card is returned to the pack.

Having become accustomed to rhe idea of the 'improvised spectator', now make an attempt at the timing of the force. Take any one card and reverse it in the pack, somewhere about the middle. A face up card is very easy to keep track of, and will serve the purpose of the first few trials.

Slowly fanning out the cards, approach the 'spectator' and try to so time your fanning of the cards from right to left that, by the time the edge of the pack reaches the peg, the reverse card will be almost in front of the jaws of the peg. The card is then gently pushed into the jaws, just as in actual performance, you will hope to gently place the desired card into the finger and thumb of the actual spectator

Try this, time after time, and you will soon get the hang of it. One thing is certain. You will be more comfortable in practice. You will know that you are not testing anyone's loyalty and patience in playing the part of a spectator for you, and you alone will be the one to say when you've had enough.

Having got used to forcing the reversed card, decide upon what card you wish to force from an all-face-down pack. This can be an original top card, brought to the middle, by a pass or cut or a glimpsed bottom card, similarly brought to the middle. You can keep an eye on ir by having it slightly more spaced from its neighbour than the rest of the cards. It can be slightly forward in the pack. It can, when brought to the centre, be kept track of by a convenient finger tip, underneath the spread

Whatever method you employ of keeping track of the card, now approach the 'spectator' carefully fanning the cards, and again try to time your actions so that you arrive at the jaws of the peg just as the force card is there to be gently pushed home. This way, you can practice to your heart's content, and know that you are bothering no-one, except yourself. You will become expert in bringing the correct card to the right spot ac the right time, and you will later approach a genuine spectator with a lot more confidence chan you would without the practice you have attained, knowing that you are NOT attempting a risky experiment, but that you are executing something which you have carefully practiced.

Using the 'improvised spectator', try a force as you stand before it. Then try one as you are located a few feet away, and as you walk steadily forward, indeed try the fanning out from varying distances from the 'spectator', just as you will have to do in varying circumstances in actual performance. If you do not have the requisite clothes peg handy, then cut yourself a suitable piece of wood, with the desired slot in it to represent the finger and thumb. OR, (and you will find this quite practical and serviceable) use any weighty object which has a slightly rounded base, such as a vase or tea-cup. Even a saucer will do on a pinch, but whatever you use here, place it so that the rounded edge will just be at the edge of the table, and so that you may gently push a card between it and the table top.

ANYTHING, SO LONG AS YOU WILL PRACTICE, PRACTICE, PRACTICE And believe me, if you will and do, you will go forward with that pack of cards, you will use the Classic Force with a lot more confidence, and those butterflies in the stomach wiJi settle down and finally disappear. Good forcing.

"EDUCATED PENCIL

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