Find the three named cards by secretly counting to them Then turn tfc, face up and place them at the petitions corresponding tot^mu^ssdiosen! Freeing yourself temporanly from the rope- He, slip the deck beneath vour jacket and under your left armpit, as in Card to Wallet TOsaccomplished *et back into the rope and turn around so that the spectators can untie you With your hand clearly empty, apparently reach for the deck in vour inner breast pocket, but instead bring out the prepared deck from under vour armpit The three cards named will be there, reversed, at the numbers requested/

5. Cards Called For to Pocket

Here are a few other ideas i've come up with for direct effects with a memorized deck.

A. One Card

Hold the deck face down and cut the 94 to the top. Do a half pass to reverse all the cards below the 9^. A spectator names any card. Riffle down the right inner corner with your left little finger to anywhere near the card named. Let's say it's the 9*. Keep in mind that the deck is reversed, so you have to estimate from the bottom up; the 94 will be very deep in the deck. Though the right hand conceals everything, you can see the index corners as you riffle through them, even if you're looking from above and the deck is held horizontally, since the cards are face up. Obtain a break above the card named (Fig. 47— right hand omitted for clarity).

Do a half pass to turn over the portion below the break, sending the card named to the bottom. Palm it off and produce it from a pocket.'

You are left with a face-up packet under the top card. You can dean up while people relax after the effect: Find the spot where there are two cards back to back and cut there, completing the cut and holding a break. Just one card under the break there will be two cards face to face. U> a half pass right there to reverse the lower portion. Even-thing is now in place, except for the 9i and the card named.

• Another marvelous method for transporting cards from behind youx teck to your wallet, this one by the extremely clever Franklin V. Taylor, can be found m Bnxe

Elliott's The Best in Magic (1956), p. 165. 11 came uP with this way of finding the card named to bv difficult to pull off under the scrutiny of attentive goes unsuspected since. though «hey ~ vou look at the you are looEng a, the indices or fa«, of the cards. Uter learr*d

a similar idea, though in a different manner; Mum,*»* TV (1988), p. 166.

B" ^^ in left-hand dealing grip. Someone names a card. You

!^ndbnn* it to the top. with a cut or pass, as you say, "No, that onSs a 1 Zs'-cr. When he names a second card, say, "No, not that one.

amis that art no good." (Laughs.) Meanwhile, you have

• 1. •___J « L M t • • A iM> ¡i » J ---- 1

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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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