Psychic Magic And A Deck Of Cards

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Cards have .1 ng lont themselves splendidly to expressions of psychic ability. Unf■■ >rtunately, card tricks in general have feecjome so associated with trickery that they frequently arouse skepticism. However, that need not be too great a concern for the entertainer. The main thing in selecting Psychic Magic card tricks is to use items that give strong accent to their mental and imp oa s i b1e n ature.

There is a tremendous wealth of material in this field, and in this chapter you will find some highly suitable feats.

In this effect, three cards are placed face up en the table, and a spectator is Instructed to mentally select cne of the Cards. After a degree of concentration, jj$bu reveal what card he mentally chose- Next, five different cards are laid in a row on the table, and the spectator again is asked to mentally select one of them. Picking up the five cards, you place one of them n his hand face down. It proves to be the very one of which he is thinking.

The principle used is applied psychology and its application is exceedingly effective. Arrange face up, in a row, the Ace of Hearts, Four of Clubs, and the Five of Clubs.

Now ask one of your spectators to stop forward, and patten

"Sere are throe cards - the Ace of Hearts, the Four >f Clubs, and :„he Five of Clubs. When I turn my back, I want you to mentally select one of those three cards. And remember, do not let me influence your choice In any way. When yeu have selected a card, simply let me know, And let me repeat, don't let me force smy one of those cards on youI"

Turn y-ur back and allow the spectator to make his mental selection. When he says, "Ready", face him, look directly into his eyes, and 'state calmly that the card he is thinking of is -the Five of Clubs.

Arthur Buckley is t he thanked for the s : r.a phase of the experiment. In this, arrange the following five cards in a row an the table: King -f Hearts -■ Seven - f Oli^a - Acq of Di-mends - Four of He arts - Nine - f Diamonds, as you patter:

"Here are five m^r- cards; lot's try the experiment again, and y-u mentally select one of them. Now remember, df not let me force any one- of the cards on you, or in any way Influence your choice. For instance, ycu may think the Ace of Diamonds is placed hero in the centre . f the row, '..hero, being conspicuous, you would be influenced t< select it. Or, perhaps, you may think the Seven of Clubs was purposely placed in the group to make it stand out to y. ur choice since it is only black card. Remember this, you have abaclutely free choice, and can change your mind as often as you like as to -hat card you wish tc select until after I have placed one card face down on the palm of your hand.. • and it. matter how often you change your mind, that will be your mentally selected card. Fair enough?"

As y-'U offer the .above comments, oush the King of Hearts slightly forward tw or three times. Make no comment about this action, simply fto It.

The spectator having thought f a o rd, you pick up "ll f the group, shuffle them, sf he will have n ■ knowledge where the location of any particular card is.., and remove the Four of Hearts and place it face downward on the polm of his hand. Then ask him what card it was that he mentally selected. When he names his card (it. will be the Four of Hearts), .ask him to turn "■ver the card y.'<u I-laced oil his hand*

As was commented at the beginning of this ingenious routine, thin offv.ct Is accomplished through the principle -.f a "psychological force", and -.Then applied t-f an intelligent .and critical group is almost infallible. In other words, the tost is so psychologically designed that the success-percentage of the spectator selecting these particular cards is greatly in y: ur favour.

In the first demonstration with the group f three cards, the Ace of Hearts is by far the moat obvious» but since you have deliberately warned the person not to allow you t? force any r-ne of the cards en him, his choice of that card is eliminated, and the Five -f Clubs becomes the ne psychologically favoured.

With the group of fivo cards, in your presentation, every card, with the exception of the F'ur of Hearts .and the Nine of Diamonds, has "suspicion" cast upon it... and of those two, the Four of Hearts seems the card you would least likely wish the person t-- select... thus it becomes psychologically favoured to be the chosen ne.

In the demonstrating cf this feat, it is necessary to offer it exactly as detailed. 3'" performed, its success will amaze you« *. and being cc-mpletely introspective in modus operandi, nc possible explanati' n remains other than that ->f mindreadine'«

If on rare "ccasi'-ns yf u should happen to miss . n this test • r .-tliers of a similar nature, it need cause y-11 re special concern. F^r of the chief Variants . f Psychic Magic to other f.-.rcs of c injuring is in the "experimenting" aspects inherent in its nature; in which the spectator is seemingly .as much a part of the feat1s success as is the performer. Herein lies ito unique charm, and herein lies the performer1s safety valve••• for the Magician in His presentation makes it a definite point to place the success or failure of the experiment with the spectator. Thus, if the test is successful, the spectator becomes elated at its accomplishment to the nth degree of entertainment pleasure, which in direct ratio lifts the performer as an entertainer. On the other hand, If the test should happen to foil, the Magician is not held accountable, since it was a feat the spectator, himself, is attempting.

As yrai casually riffle tho deck in your hands, give the cards backward crimp - See Fig. 10 - then have a cord freely selected.

In performing Fsychic Cord Magic, always do d: things naturally, and emphasise the impossibility of your having .any slei ijht-of-hnnd control -vcr the cards by some such ruse as deliberately turning your head aside while tho card is selected, or else spread the cards out en the table while the choice Is made. Next gather up the rest of the dock and ask the party to concentrate on the card he selected, as y u explain that you will spring tho cards haphazardly n the table., and he is to drop his card in amongst the showering cards as they drop to the table.

Spring the cards slowly to the table, and the spectator SO loses his card. Ycu then gather up tho deck, and with more requests to concentrate, you 1• k at tho squared deck, make a few cuts, and eventually place a card face down in front f the v". lunteer. selected.

proves to bo the ird

HERB'S THE HOW: After the card is selected, y u gather up the rest of the deck and get it into position f r the conventional card springing - See Fig. 11.

This naturally squeezes the dock in the opposite directi >n to your first crimp and gives a curve to all the cards. How spring the cards to the table, and the spectatrr buries his card among the falling shower. It l~oks impossible that there could be any control, and the card seems hopelessly lost in the deck. But thanks to your crimp and the springing process, on gathering up and squaring the deck, you will note an obvious break at the spectator's card, so yru can cut directly to it - See Pig. 12. A little build-up, and you produce his selected card.

What makes this trick so different is that everything can be handled so fairly cnaT everyxning can oe nanaxea. so iairry 4 )that it literally seems an "impossibility". ■'With a psychic presentation you have a miracle here.

Nov/, take the deck and give it a pressure fan showing the faces of the cards to the spectators - Fig. 13«

Square up the cards and approach some genteel appearing person who is seated slightly away from the rest of the group, 3G that only he can see the faces of the cards as you he.Id them before him. Again make the fan, but this time- make it in reverse, which makes an -all blank fan with the exception of the bottom card - Seo Fig. 14-To the rest of the spectators, this looks exactly like the "ther fan you just made and exhibited, so when you ask the person to think of any card ho sees in the fan, It all passes without a challenge. And since the party can see the one card which is on the bottom of the deck, naturally you can "read his mind" .and name the card.

BrId as is this modus operandi, its effect is tremendous! If

Psychic Apparatus

you choc so the right type of person t'. werk it n, ho will never comment. In fact, ho, himself, will be largely puzzled as to hew you men ■■".god to make o fan with "-nly the " rv. ■ card showing, .and will bo right there in congratulating yur skill by co-operating with you in selling the effect.

The well-known Magician, Loo Gräbel, is to bo sincerely thanked foe releasing those Choice bits of legerdemain from his repertoire.

C ord C lairvo.yo.nce-

Kero is a very old trick in o new dress that will puzzle the best of »cm. Presented in this psychic manner as a feat of seeming clairvoyance, it's o kr. ckoutl

First, the: pack is shuffled by a volunteer ond out. Hext, the deck is divided into four packets. Spectator new takes the top card of each group and buries it. in the centre of its respective pile, Obviously no one con know the n-imo of the card now on top of each secti n, yet the p ::'.' rr.or, by merely touching each group, is able to name the top co.rd v:f each, packet.

The method employed is, after the deck is shuffled, to take it and secretly n • te th< card second fr: n the bottom as you casually run through the cards. Let us imagine, for example, that this card is the Ace "f Hearts.

Next have the spectator make four packets alongside of each ■t h o r o n the t abIo, and you remember the lo ca ticn f the one

0 ntaining the Ace f Hoorts, second fro, the bottem. Ask the spectator to count the cards of each packet face downward on the to.'blo, which process reverse® the -rder of the cards so that the Act. of Hearts will new bo second from the t.-p c f its packet.

Pattering on the ability rf clairvoyants to divine the name of a card merely by t> uching of the fingertips on its back, you propose the- experiment. And t. present It under scientific conditions, you suggest i fresh start by having the spectator bury the top card ■ f each heap within its centre. Thus the Ace of Hearts becomes the top card of its particular packet.

Continuing y~<ur patter on clairvoyant powers, you touch the t o card f rhe Of the other packets and h Idly state that you receive an impression that it is the Ace of Hearts. Pick up the card, glance at it without showing what the card is to any of the- spectators, and place it foe.; downward -:n the spectator's hand. This card is, let us say, the Three of Spades. Touch another pile's top card and assert that it is the Three of Spades. Again remove the card, glance at it, and place it face

1 vmward n ;ho card in the spectator's hand. This card is, lot us say, the Nine of Clubs. T uch another top card and name your "impression" as the Nine of Clubs. Gl.ancc at it and place it along with the other cards. This card is, let us say the Queen of Diamonds. Proceed rapidly on and t uch the last remaining pile (thin pile you know has the ,.ce of Hearts on t< p). Call the enrd as the Quom Of Mmw&Sj glance at it and place it with the other cards on the spectator's hand. It new hut remains tf pick up the f ur curds, mix then a little s- they will not be in an especial order that might be remembered, and turn them over showing that y u have inde d called each and every rne d' them ah3 lately c-. rrectly.

All Magicians will recognize in this trick the workings of an old friend, but in this now handling of the clairvoyant presentation combined with the shuffling and burying of this top card in each packet before seeming to start the effect... it becomes a very deceptive item.

Thti Cards and Sl?t>-s

Henry Banderob, my friend from Son Jose, Calif« volunteered this very excellent item. The means by which it is accom-plioh,:d is standard, but the ingeniousnoss of Mr. Banderob's presentation provides a trick that is top-rank mental material.

Set your deck of cards in the familiar Si Stobbins arrangement. Magicians will all recall the lay-out., but in cose any memories have slipped, her; 1s the set-up:

Ace of Diamonds Four of Clubs Seven of Hearts Ten 1 f Spades King f f Diamonds Taree < £ Six f Hearts Nine of Spades Qu eon 0 f Di am- i nd s Two of Clubs Five f uuarts Eight of Spades Jack of Diamonds Ace of Clubs Four of Hearts Seven of Spades Ten Of Diamonds

King of Clubs Three of Hearty Six of Spade0 Nine -'f Diamonds Queen of Clubs Tuo of Hearts Five :f Spades

Jack of Clubs Ace f Hearts Four if Spades Seven of Diamonds Ten if Clubs King ■ f Hearts Three of Spades Six 'f Diamonds Nine of Clubs Queen of Hearts

Two of Spades Five f Diamonds Eight of Clubs Jack of Hearts Ace of Spades Four of Diamonds Seven if Clubs Ten cf Sep.xts King of Spades Three -f Diamonds Six of Clubs Nine of Hearts Queen of Spades Two of Diamonds Five of Clubs Eight of Hearts Jack of Spades

As you will note above, one (Aco) t. thirteen (King) ing suits - Diamonds, Club in this set-up th cards run from and rotate up three, :iith alternat-

Hearts, and Spades.

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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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