Explain that you will only name one card from each packet. You name a card from each of the first two groups, but you fail on the third. You don't actually name a wrong card-you just don't get one. Name one card from each of the other packets and say, " Well, how about two out of three?" (First applause.) Try with the "difficult one" again and, since you still can't get it, name another card from each of the other two packets, and then yet another from each of those two. That's another four cards (second round of applause). You try again with the third spectator, but without success. You just cannot get it. So you proceed to name all the cards the first spectator is holding (third round of applause). Then, as a bonus, name very rapidly all the cards of the second spectator (fourth hand). When you're ready to go on to another trick, you suddenly say, "Ah, maybe you weren't concentrating on your cards. Look at them intently/' and proceed to call his cards quickly and dramatically (fifth and final ovation). I always try to give the impression that I can't really come up with the cards of one of the spectators until the very end. This dramatic conflict heightens the effect considerably, providing several climaxes. Thus, everything becomes more exciting and memorable/


If you gather the cards as the spectators give them to you, in three separate groups, you can insert them in mnemonic order to rebuild the stack. I wouldn't do it, though, as the spectators might remember that order in the next trick. Also, I feel this trick is a closing piece.

FIRST VARIATION (with a medium)

You can use an assistant who knows the stack or who has it written on a card and turns his back to the audience. He may even be blindfolded and look down his nose through the gap between his cheek and the blindfold. All you have to do is cue him the positions in the stack of the three keys, which might be done like this: "I'll stand seven feet away from the medium," or "There shouldn't be more than forty cards or fewer than twenty-six." Make up your own apparently innocent phrases.

• Actually, you ignore the number of card, in each packet, but as you beg,n to name cards you ask the spectator* to remove them from their packets ( they hold fanned with the faces toward them). When you see that only a few cards them, "How many are left?" He effect is the divination of the ,dent,tie* of the cards.

not of their number.

8« y Juan Tamakiz second variation (ideas)

Send the medium, who is in another rrx>m, the three numb»,, w a nail-writ'*you can secretly writ" »hern on the i ard rase or (n) ,t u "" paper You might also code the number of c ard» in each pa< h-, (vyhk)'' '' learn bv simply having the ip« tutors Jdl you) to »he medium, * J/' (he key numbers. C rea ting, inventing and deviling a way inta*fc, ^ to the reader for hi» own pleasure. I

third variation (a Cu&itC) fl a spectator puts a group of ten c ardí», which haft been freely t\Uf,Ánt/t, hurtled by him elf, into an envelope. You then mark the envelop. >, your fingernail,coding to (he medium the key card that preyed« (fe rrponding drawn packet in the s tac k The envelope is sent to lh<- ffl,.,¡MJ,. who, avertaining the key by running his finger« over it (as \\ u, f,*A vibrations of the otrds), writ/-, their nam«» on the envelope I In- comm tee bring-, it bade, opens it, arid the medium's gue-.s is proven rigid If, t>,H c e, of courv, the medium needs to know the »tack fhe performer,' -,<. ou»ly enough, doesn't need to know it? '

4. Obedient Cards j

Mere . a davnr effect, or trieft of effects, that produce» the ma/ir/, „• m magical imp«'! So much so, that it used to be th»- only effect nur,7 • / ',-ar.-. oftf>- fir-.i half of the twentieth century did with a m-w,un-\ deck—to great succès. 1

A» yo /re standing and moving among the »pec ta tors, you have rh* Cr.J different cards and you do »omething magical, quíík and diif'f " with each card called. For example-. 1 1

J 7V named card appears on t'/p of the deck (found by gtimpung ifd brought to the t//p by cutting or making a pato). J

2 f> ' ard app-arv, at (he botter, of the dec k (again found by gjiff.p^

and brought to the face by cutting or making a pa«), ' " ' not to be <„, top wj tfu-n appear» there (gßmp*^

card apport rever vid in tl«- deck (glimpse, 'ut or p*v. to ** , f]*0»' and cut or pa*», 7]

* by »rv/ther »pectator rit ,■> located and for«* "

' ' '«rd appear* when »hey <a|| «top Nation and drftt* "

*PP**r* in the magidan', pocket (pa* or cot, and p-l«l

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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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