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StoA&d MwdUri'&


Magic Welding has in my humble opinion never been correctly solved. First came the Mirror tumbler and then the tray ... as all the apparatus in this connection has been sold by now I feel I am doing no harm by describing a method which I have found to be far superior.

Effect. Assistant and operator meet centre stage—assistant holding doubled

Evening Stand or any small newspaper . . . operator has a glass dish containing the links of a chain. With patter or in silence the operator drops the links one by one into the double newspaper . . . this having been done the assistant pours the links back into the glass dish . . . operator tosses the " links " into the air and down comes a chain . . . paper is torn up.

Working. Fig. A will show you that a pocket is pasted to one side of the front page. The assistant holds the paper doubled and when centre stage, faces the audience. When the Magi prepares to drop the links one by one in to the paper the assistant turns and faces him ... at the same time pulling the flap open with his right thumb, Fig. B. All the links are dropped into this compartment.

When the assistant pours the " links " into the paper they actually stay behind, and a chain, which is hidden in between the centre, sheets of the paper, pours into the dish.

The links now become a chain . . . after catching and showing it, the operator drops the chain in to the paper and the assistant begins to exit ... as an afterthought the performer calls him back, takes the double paper with one hand and gives the glass dish to the assistant.

Now the pours from

Magi the other end (which is automatic) (Fig. C) and both links and chains come out together.

The assistant walks off casually lifting one end of the chain and dropping it back into the dish . . . the performer with an " Oswald Williams " smile tears the paper up . . .

Otei&t Wxvdadi'&

5Jhz SJinead

With the advent of Scalbert's " Mystery of the Seventh Card," there has been a greater interest shown in two person card discoveries with the medium at the end of a telephone or outside the room where the action takes place. During my Army career I made use mainly of two methods, both of which are described in " Patterns for Psychics." At a later stage I used Geoffrey Scalbert's effect, and on one occasion finding that I wanted something similar in effect but entirely different in method, I devised the following which I have found extremely effective and have used ever since.

After shuffling a deck of cards the operator asks for the assistance of two of his audience, whom we shall call "A" and "B." A is asked to cut the deck into two heaps, choose one, and pick it up. The remaining heap is handed to B, who is now requested to deal seven cards face down into a heap on the table. A is now asked to spread his cards also face down on the table and to touch one card and push it out from the rest. He is handed an envelope and told to place the card inside without he or the audience glimpsing it. This envelope is now placed on the table and the operator picks up the heap of seven cards. Talking of ocoultism and the mysteries of the seven stars, he places the seven cards in a circle around the envelope. After a moment or two of deliberation, coupled with more accent on the seven motif, the seven cards are picked up again and handed to B, who is asked to either 'phone or take the cards to the medium. If the 'phone is used the medium simply asks him to name the cards he is holding. He does so and she names a card. Returning to the table he states the card she has named. The envelope is opened by A, and the card named is found to be the one selected !

The requirements for the effect are simply a deck of cards and an envelope. The deck is stacked in the order best suited to the operator, the following cards being abstracted from the stack :—

The Joker, Jack of Hearts, King of Diamonds,

Ace of Clubs, Two of Spades, Four of Hearts and

Eight of Spades.

The method of coding is very simple but subtle. It is easily realised that the value of any card can be transmitted by the ace, two, four and eight in combination or by themselves, i.e.,

An Ace represented by the Ace.

itt the Maze

A Deuce A Three A Four A Five A Six A Seven An Eight A Nine A Ten A Jack A Queen A King do. do. do. do. do. do. do. do. do. do. do. do.

That is the coding» for value. We must now deal with what I call the stopper card—the Joker. The function of ¿his card is to show the completion of the value, i.e., an Eight and an Ace, followed by the Joker would indicate a Nine . . a Four and a Two followed by the Joker would indicate a Six, and so on. Now for the method of suit coding, and it should be mentioned that the suit is indicated before the value. If the first card before the value is the King of Diamonds and the last card of the seven is not the Jack of Hearts, the suit is Clubs. The Heart's suit is indicated by the first card being the Jack of Hearts, the King of Diamonds also being anywhere but last. For Spades, the first card is the King, followed by the Jack, whilst for Diamonds, the Jack is followed by the King. Now supposing that the operator wishes to code the Queen of Diamonds, the seven cards would be in this order (showing end of value).

Jack of Hearts, King of Diamonds, Eight, Four, Joker followed by remaining two cards. At this point I should like to emphasise that with the suit of clubs and hearts if the unwanted court card is placed at the end, and over the 'phone the sender reads the cards face up instead of face down, the receiver might get the wrong card. With Clubs or Hearts, the unwanted court card can go anywhere among the value or other cards and is simply ignored by the medium. This seems rather a lengthy explanation, but with cards in hand, the reader will find the whole thing very simple indeed. The seven cards in the first-named order are placed on top of the stacked deck. This is placed in a handy pocket, the envelope to be used being placed in another. Thus set the operator is ready for the . . .

Presentation. After already having performed a psychic effect, the operator removes the deck from his pocket and gives it a very casual shuffle, which, needless to say, is false. Even if the operator only keeps cutting the cards (provided he makes sure that at completion the seven cards are at the top) there is no occasion for suspicion in the audience's mind that the operator is using an arranged deck. If the effect is presented in the correct way playing cards are simply symbols and not the mainstay of conjurors. The deck is now placed on the table and A is invited to cut it into two heaps then choosing one. It is almost a hundred to one that he will choose the heap not containing the seven key cards. If he should, however, and not B, he is asked to deal the seven top cards on to the table, the remaining cards being handed to the other helper who is asked to spread the cards face down in a row, touch and then push out one card. The envelope is removed from the pocket and the chooser of the card asked to place the face down card inside. This envelope is now placed on the table. The operator turns to the chooser of the card, and at the same time turns the cards on the table face up, remarking " You see, you had a pretty good range of choice." This allows the operator to see the cards above or below the chosen card and because of the arrangement knows its value. The seven cards are picked up and very deliberately criss-crossing this way and that and with appropriate occult patter the cards are arranged in the order which will give the name of the selected card. (The operator having placed these cards in a circle must, of course, remember the starting point.) A slight pause precedes the picking jjp of the cards and then handing them to the spectator with the request that he 'phones the medium. The order of the cards give her the name of the card in the envelope. She tells the caller this and the assistant returns to the table ; the envelope is opened and the medium proved correct. To my mind the fact that the card is not known gives suspense to the effect.

Sjet&t Wwrfoc&'a,

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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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