.. a*bnak. In other words, the right nana taxes an tne cards between the It «rd rnd the break. Lay that packet on top of the left hand s packet chaining a break at that point, and then cut to the break

\> a result of these actions, one of the cards named is now on top and die other on the bottom, all in a matter of seconds. The final cuts are done during the * post-gag' relaxation.

Sav Tit's true, they're no good because 1 had put one here in my left x<hL With vour left hand, palm the bottom card and produce it from your pvxtet the other in the right pocket. As you bring the card from re Itft pxkei, execute a one-handed top palm while your right hand the deck. Produce that card from your right pocket.

The * hole et&ci is qui-ck and direct They name a card, then another, and yoa pmi xe one from one pocket and then the other fro m a second pocket

Kepfaoe the second card named on top of the deck and slip the other ok bad. where it belongs in the stack.

& Thdughpof Card to Pocket (\stth an Added advantage)

Stepper Simpson published an excellent method in The Jmx to deal wy^* cards three times fin three packets, then in four, and again in so that the deck ends up in the same order as at the outset* As 900n * :iad it I thought of applying it to Mnemonics.

frooi the deck, explaining that you will have a card ® too frequently selected. You now have forty-

daifc ******sfanffin& ^ the spectator give the deck a cut Next rcnc Lrfl ^ face up, into three piles. .Ask the spectator to qu^kl, lay it onto the second, and then both onto the

- fci ¿^t r ^ into four piles, turning each card fx* * ■ {1 tonotehsard again when it appears, but to

** ." **** P^e onto the third, both onto the second **

Pretending to have a problem in getting the image of the card deal the cards once more into four piles and pick them up as Jore How "'

the deck face down, say, 'Yes! ,>„ go<,, taking the second card from the bottom (the AT) In a manL that L gwses exactly where it came from; or, better yet, cut the deck and take the A* from its new place in the center. Put it into your pocket without showing its face.

" What card did you think of T Your helper names the card. Smiie and pause. Quickly locate the card named, bring it to the top, palm it off (or obtain it with a side steal) and triumphantly produce it from your pocket. Once the Kings and the AV are replaced where they belong in the stack, the deck will be back in order (thafs the added advantage offered in the title).

Note I

If you alter the sequence of the deal—that is, instead of three piles, four piles and four piles, you deal four-three-four or four-four-three—the result will be the same. All forty-eight cards are brought back to their original order. Simpson provides some formulas in the Jim article to determine, if dealing in the first sequence given (three-four-four) and picking up the piles in any order, the position of any card from the top. I refer you to that article for the details.


I have published a version for forty cards (the Spanish deck, without Eights and Nines) in my book-magazine Magi* Potagia, Volume3 (1964). In that case, to bring the deck back to its original order, the dealing was done in piles numbering four, five and two, in any order.

The presentation was based on a ritual taught to the magician by a Tibetan guru who was ninety years old. This justifies the deaJ into four piles, five piles and two (90 = 45 x 2), and gyves the trick an kataesling mood of mystery.

For packets containing other r ing m-n-l piles, vou return to the original order when cards in the dealt packets equal the result o( m x n * L Therefore, for forty-eight cards, you should deal 1+4 piles (or 4-3-1 or 4-4-3, *nce

"" ll]beards you'd deal 4-3-2 since 40 = 4 x 5 - Z For ior^ you could deai 3-2^7 piles For for*-** <ards, cards, 3-3-4; and so otl

I think the above can prove in*®** ».hen apphed part of the slack. Ifs vour turn to think, «T>

Thank vou. Utile Tamanz:" Vfe -You're "¿come, httle read« )

7 \ Card Vanishes Instantly

' Hcre b an idea for a quickie. Someone names a card. While holding ids spn^ad in your hands and keeping track of Cards 18 and 35, hkh are spread somewhat wider, you quickly find the named card by "anting, almost without looking, and use your right fingers, which wi ve previously wet with saliva, to moisten its face. Square up the deck. The special or squeezes the cards between his palms and then begins to deal them face up, one at a time to see where his lies—but the card never appears and there are only fifty-one. You then locate it, palm it and produce it from a pocket or from anywhere you wish.

As Our

In ease the two cards split when being dealt by the spectator, you can still get away with it if you take the following precaution. Before the deal, you announce in a subtle way the position of the card chosen. If they name, for example, the A* (43), you might say, "in forty-three seconds, the card wilt—wait a minute Please check the position of the card from the top.

Count the cards, aloud, one at a time, turning each one face up." If the A* turns up at forty-three, because it splits, they will believe that was the effect you intended.

You could, of course, accomplish the same effect (disappearance of the card named) without having to look for it or resorting to saliva, by dealing the cards yourself and double-dealing (two cards as one) at the count of forty-three, or by palming off the card. The saliva vanish, however, when it works and .fs advisable to make tests with the cards you use) is a wrcidableone You show your hands empty, hand out the deck, the spec-tor counts and the card isn't there. The plot is drawn from William H.

us« _ Josi?h undt* the name "Premonition"; but this version dedc to produce an eSSeex is "iual,ydcan-

the iMriemonica,you can do it with a card named from dspU^. ' 7*^ ^ choke is through luck or because you have

Bring tht fo

^«d fir^i * '»oiMen its back with saliva. Have a card

• • r 3 bfeak under iL 00 a s,iP cut to send the ^

card toe^T^ deck and bs<ta<l of «I, a ■ !n ^ center- Continue as described-

-r _ ' J <*course, treat the back of the with M'-

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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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